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		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Qing Jianan: /* 彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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It would be better if  Wiselotus Potterymaker was sold to the second person. The inflame of Dragon Marshgrass who was called Dull Overlord was the most capricious man in the world and spent money like the earth. He fought with those people who shanghaied Wiselotus Potterymaker, and scrambled for Wiselotus whose life was not assured.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:44, 29 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Pity Zhen has been tortured by human traffickers for several years before she can finally get rid of it. Although Dragon Marshgrass is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to Master Merchant and Master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally  with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Yucun says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renowr were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Xue pan, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Yinglian. Seeing that Yinglian was pretty, Xue pan decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Jung-guo-Anwesen. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
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Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
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Aunt Marshgrass wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. Therefore, she agreed immediately and said to Lady King privately, &amp;quot;the Xue family will pay for all the supplies by themselves, which is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
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There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
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at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month， Hsueeh P'an came to be on intimate relations with all the young men among the kindred of the Chia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
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At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
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Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134591</id>
		<title>20211229 homework</title>
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		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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The heart is one more hole than Bigan.  Bigan: uncle of King Zhou of the tyrant Shang (Yin), known as a saint. According to the historical records of Yin Benji, King Zhou hated Bigan's admonition and said angrily, &amp;quot;I heard that the heart of Bigan.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:15, 29 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Lin Daiyu Tochter von Lin Ji-hai as extremely clever. Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.​&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:25, 29 December 2021 (UTC)&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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Jiao Yin Mammy -- a woman who was in charge of teaching the young emperor's son in the Qing Dynasty, known as &amp;quot;Jiuda&amp;quot;. Later, the big families followed the suit. ​&lt;br /&gt;
The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Village Residence Book Xi&amp;quot; by Song · Lu You. The original poem is a seven-word poem: --[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 06:05, 27 December 2021 (UTC)Chen Huini&lt;br /&gt;
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Guide Mammy——a woman who in charge of teaching young sons of Emperor in the Qing Dynasty，called “Anda”. Later, the big families followed the suit.&lt;br /&gt;
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The sentence &amp;quot;flower spirit attacks people&amp;quot; is half of a sentence in &amp;quot;Book of Happiness Living in Village&amp;quot; by Lu You in Song Dynasty.The original poem is a seven-word poem：--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:43, 28 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。”&lt;br /&gt;
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Mountains stand away from the Hong Qiaomei market and the Fanjiang river flows beside the Bai Tower. The glamour of flowers notices the spring and Tweetie magpies are happy because of a sunny day. The price of unstrained wine is so low that poor me can have a good drink. Farmers are diligently ploughing and sowing. --[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:37, 28 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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It refers to the politeness children greet their parents in the morning.&lt;br /&gt;
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The Fourth Encountering of Unfortunate Couples;Fool Judge and the Misjudge Case--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 13:27, 28 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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Bead Merchant died young. But luckily, she had a son, Cymbidium Merchant, just five and already in school. Her father, Midfielder Plum, a notable of Jinling, had served as a Libationer in the Imperial College. All the sons and daughters of his clan had been devoted to the study of the classics. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:06, 27 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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When Midfielder Plum became head of the family, however, in the belief that “an unaccomplished woman is a virtuous one,” instead of making his daughter study hard he simply had her taught enough to read a few books such as the ''Four Books for Girls'', ''Biographies of Martyred Women'', and ''Lives of Exemplary Ladies'' so that she might be able to recognize a few characters and be familiar with some of the models of female virtue of former ages; --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 10:05, 27 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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She was named Silk Plum and her courtesy name was Gongcai (imperial tailor) because she was hoped to be good at embroidery. Young but widowed, she looked like a dried-up wood, though living in a rich family. She did't ask any questions or wonder anything, but to serve her parents and raise her son, and in her spare time, she read and  embroidered with her sisters-in-law.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 03:55, 29 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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But this kidnapper stealthily sold her to the Hsueeh family. When we knew of this, we went in search of the seller to lay hold of him, and brought back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his asset and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several people not concerned in the affair. --[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:29, 29 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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I filed a charge a year ago, but there's no answer. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rainvillage Merchant. &amp;quot;How can men commit a murder and go without punishment?&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 06:22, 29 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un said, “You look so familiar, but I can’t remember you at once.” gatekeeper laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yue-ts'un felt surprised, and the remembered the past.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 05:51, 29 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the warrant just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold 'a protection charm' of the province? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;What's the protection charm?&amp;quot;.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 15:58, 28 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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The doorman said: “Nowadays every magistrate has a personal list of the names of the most powerful and wealthy squires in the province. It’s the same in all the provinces. If you don’t do this, you may lose your position even your life once you offend them.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:47, 28 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
So it's called ‘Guardian Talisman’. The Xue family just said, how did the master provoke him! There is nothing difficult about him in this lawsuit. The previous government officials were obstructed because of their affection, so it was so. &amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:32, 27 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
On the one hand, while taking out a copy of the &amp;quot;protection charm&amp;quot; from the Shun bag, when it was handed it to Yucun, it was all the common sayings of the family of famous local eunuchs, saying: Jia is not fake, and Bai Yu is the gold of the house. Be a horse.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 11:31, 27 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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The man who was killed, was the son of one of the minor local gentry, named Feng Yuan. Both his parents died and he had no brother, living on his small property. With an age of eighteen or nineteen he was a confirmed queer and took no interest in women. But then, as the entanglements in a former life, he ran into this girl and fell for her and made up his mind to buy her for his concubine. He swore to have no more to do with men and to marry no other wife.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:41, 28 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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So he insisted on her entering the house three days later. Who could know that the kidnapper sell her on the sly to the Xues to abscond with the payment from both? However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 13:35, 28 December 2021 (UTC)&lt;br /&gt;
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So he had to wait three days before he could enter the house. Who would have thought that this trafficker would secretly sell to the Xue family again? He tried to escape with the money from both families.However, before he could run, they nabbed him and beat him, leaving him half dead. Both refused to take back their money -- both wanted the girl.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 00:44, 29 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!'Later, she heard that it would be three days before Mr. Feng would marry her, and again she turned sad.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:27, 28 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to go and persuade him: 'Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off.He has always hated parishioners, but now he has gone so far as to buy you at a price that it is easy to tell what will happen.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 16:24, 28 December 2021 (UTC)&lt;br /&gt;
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I could not bear it, so I waited for the kidnapper to go out, and asked my wife to persuade him: “Mr. Feng must be waiting for a good date to come and take you, so I know that he would never look at you as a maid. Besides, he is a man of great elegance, and his family is well off. He has always hated women, but now he has gone so far as to buy you at such a price that it is easy to tell what will happen.”--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 03:22, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Marshgrass.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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“Feng Yuan dreamed of happiness, but instead of finding it he lost his life. What a pity!” Rain Village Merchant heard it and signed: “ that is also their evil encounter which is not a coincidence. Otherwise, Feng Yuan only had a crush on Ying Liam?”--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 07:35, 29 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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Yinglian has been tortured by human traffickers for several years before she can finally get rid of it. Although Xue Pan is an amorous person, it would be a good thing if she could marry and tie the knot. However, such an unbelievable thing deliberately happened. Even if the Xue family is richer than the Feng family, it's normal to think of him as a man with many concubines. He is lost without measure. He may not be devoted to one person as Feng Yuan does.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:35, 28 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It is exactly the love of dream, coincidentally to be a pair of ill-fated couple. Not to mention other things, but how should we judge this case today?&amp;quot; The servant said with a smile, &amp;quot;Your Lordship was so clear and decisive back then, why are you so hesitant and irresolute now?&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 14:28, 28 December 2021 (UTC)&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Merchant Mansion and King Mansion. Dragon Marshgrass is a relative of Merchant Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Merchant and master King in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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I heard that you got a promotion additionally  with the help of Jia Mansion and Wang Mansion. Dragon Marshgrass is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:42, 29 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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Yucun says: &amp;quot; What you said is right, but it is a matter of people's lives.I am so grateful that the emperor can appoint me. It's the time when I need to try my best to reward.Should I ignore the law for personal gain? It is really unbearable.&amp;quot;The doorman listened, and said with a sneer:--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:38, 29 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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Naturally, the murderer could not get it. The plaintiff did not follow it. He only took a few of the Xue family and slave servants to torture them; The small ones were secretly mediating, so that they reported a &amp;quot;violent illness&amp;quot; and a joint guarantee was handed over to the middle and local communities.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:25, 27 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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The crowed had no doubt after they saw the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand Yang yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:25, 27 December 2021 (UTC)&lt;br /&gt;
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The people had no doubt after seeing the remarks of divinities in accordance with the trickster. The Xues had plenty of money, the Lord could give one thousand yuan, or five hundred, to the Fengs for funeral expenses.There was no one of special importance in the Fengs, all they wanted was just the money. Having received the money, they wouldn't say anything more. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:44, 27 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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Besides, she has a daughter, whose small name is Bao Chai, two years younger than Xue Pan.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:50, 27 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 06:49, 27 December 2021 (UTC)&lt;br /&gt;
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ever since her father's death, that her brother could not appease the anguish of her mother's heart, she at once dispelled all thoughts of books. and gave her sole mind to needlework, to the menage and other such concerns, so as to be able to participate in her mother's sorrow, and to bear the fatigue in lieu of her.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:41, 28 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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Recently, the Emperor in order to respect culture, promote etiquette and explore talents, in addition to selecting good wives and mothers to serve the emperor, the daughters of families of hereditary official status and renowr were without exception, reported by name to the authorities, and communicated to the Board,in anticipation of the selection for maids in waiting to the Imperial Princesses and daughters of Imperial Princes in their studies, become “Cairen, Zanshan”.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:37, 28 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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Xue pan, therefore, has already checked his luggage and jewelry, and also has prepared the local specialty and gifts to his relatives and friends. He was going to set out on another day. Unexpectedly, he met the human trafficker selling Yinglian. Seeing that Yinglian was pretty, Xue pan decided to buy her as a concubine. But he was also robbed by the family Feng,so he ordered a slave to kill Feng Yuan.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 04:05, 29 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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Then he has entrusted the household affairs to his clans and some from his hometown. While he himself just went away with his mother and sister. He deemed the affair of life and death as nothing and believed that nothing can't be handled by money.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 04:41, 29 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that mother-uncle Wang Ziten was promoted military commander and ordered to leave the capital to guard the border. Xue Pan merrily thought:&amp;quot; I'm just worried that I can't do whatever I want under uncle's jurisdiction, now he's promoted and about to leave, great! How lucky I am!&amp;quot;&lt;br /&gt;
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No time is counted when on the journey. That day he was about to enter the capital, and heard that maternal uncle Soar King promoted to nine provinces, by decree out of the capital to check the border.Dragon Marshgrass heart secretly happy: &amp;quot; I was worried about going to the capital to have uncle's jurisdiction, can not be arbitrary spending; now promoted out, I know God from the wishes of man. &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 05:15, 29 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
&lt;br /&gt;
In the past few years, your uncle and aunt have often sent us letters to bring us here. Now that we have come, although your uncle is busy, Merchant's aunt may &lt;br /&gt;
try leaving us, we are busy making up the house, won't make people mind? I have already know what you mean: --[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:28, 29 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
Dragon Marshgrass saw his mother said so, I know that the twist can not, only to order the husband, all the way to the Rongguo House and come. At that time, Lady King knew that Dragon Marshgrass lawsuit, thanks to Rainvillage Merchant on the maintenance of the heart.&lt;br /&gt;
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Seeing that his mother said so,Dragon Marshgrass had no choice but to order the husband to come all the way to Rongguo's house. At that time, Lady King was relieved when she knew about Dragon Marshgrass's lawsuit and lost Rainvillage Merchant's support.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:34, 29 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
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Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
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Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
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Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
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Dragon Marshgrass met Master Merchant and Romance Merchant and introduced Pardon Merchant and Treasure Merchant. Master Merchant sent someone in and said to Lady King, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
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“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
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“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
There was another gate to the street, through which Xue Pan's family went in and out. There is another side gate in the southwest, which leads to the narrow lane. Out of it, comes the east courtyard of Lady King's principal room. Every day, after dinner or in the evening, Aunt Marshgrass came to chat with Grandma Merchant or Lady King;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:49, 27 December 2021 (UTC)&lt;br /&gt;
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There was another door leading to the street, and Xue Pan's family walked in and out through this door. There is another corner door on the southwest, leading through the lane, and out of the lane, it is the east courtyard of Mrs. Wang's main house. Every day, after dinner or in the evening, Aunt Xue came over, chatting with Jia's mother, or narrating with Mrs. Wang.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 07:23, 28 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
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During the day, Baochai was in peace with Daiyu and Sister Yingchun, reading a book, playing chess, or doing stitches. It's just that Xue Pan didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.&lt;br /&gt;
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During the day, Precious Hairpin Marshgrass  was in peace with with Mascara Jade Forest, Spring Pleasure Merchant, her sisters and the other girls, either to read, to play chess, or to do needlework.   It's just that Dragon Marshgrass didn't want to live in Jia's house at first, and was afraid of his uncle's control and uncomfortable. But my mother insisted on staying here, and the people in Jia's house were so diligent to stay, so they had to stay temporarily.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 07:19, 29 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
at the same time he directed servants to go and sweep the apartments of their own house and  they should move into them when they were ready.&lt;br /&gt;
But, contrary to expectation， for not over a month， Hsueeh P'an came to be on intimate relations with all the young men among the kindred of the Chia mansion， the half of whom were extravagant in their habits and glad to make contact with he.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:44, 27 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time，he arranged servants to clean their own house apartments and then moved to the apartment for living.However,less than a month's living，he has been acquainted with hallf of the sons and nephews in the clan of Chia. They were extravagant in their habits and glad to make friends with him.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:46, 28 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
Today having party and drinking, tomorrow watching flower, and even gambling and whoring are all around. Xue pan is ten times worse than that day. Although Jia Zheng correctly taught his children,Run the family with laws and regulations,For one thing, there are too many people to take care of; Second, now the head of the house is Jia Zhen, the grandson of the head of ,He was in charge of the Ning Mansion， all the affairs of the family，he is in charge of everything in the family;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 03:34, 29 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
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Third, the public and private are miscellaneous, and they are natural and unrestrained. They don't focus on mundane affairs. In their spare time, they just read books and play chess;Moreover, the Lixiang courtyard is separated by two floors, and the street door is not open, so you can go in and out at will:&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
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Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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(又见清·石成金《家训钞》引)&lt;br /&gt;
 Translation: (See also the quote from Shi Chengjin's &amp;quot;Family Instructions&amp;quot;)&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
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&amp;quot;Biographies of Exemplary Women&amp;quot;: compiled by the western Han dynasty Liu Xiang. There are seven volumes in the whole book, each of which is a category. respectively, there are one hundred and four women's stories, including Mu Yi, Xian Ming, Ren Zhi, Zhen Shun, Jie Yi, Bian Tong, and Bi Nie.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:33, 29 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
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Spinning needlework ——— Make a general reference of as housework that a woman should do.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 05:25, 29 December 2021 (UTC)&lt;br /&gt;
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Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
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''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
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''Fangji'': ''Fang'' means spinning silk into yarn, ''Ji'' means turning hemp into thread. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:48, 28 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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女红：又作“女工”或“女功”。&lt;br /&gt;
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Female Red (''gong''): is also known as &amp;quot;female worker&amp;quot; or &amp;quot;female performer&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 01:46, 28 December 2021 (UTC)&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=134574</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=134574"/>
		<updated>2021-12-29T07:28:50Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
----&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Lin is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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The Lady Dowager then introduced them respectively to Daiyu: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; Daiyu greeted them one by one. Her grandmother then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade was&lt;br /&gt;
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
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Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
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&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211208_homework&amp;diff=134568</id>
		<title>20211208 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211208_homework&amp;diff=134568"/>
		<updated>2021-12-29T07:26:45Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We talked for a while and give me two bundles of silver when leaving.&amp;quot; Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)&lt;br /&gt;
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“After talking for a while, he gave me two Liang of silver before he left. &amp;quot; The Zhen lady listened and felt sad. I was kept silence all night.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su asked him to ask the Zhen lady for the delicate Jiaoxing as concubine. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
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One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
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At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
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Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)&lt;br /&gt;
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Although capable, he was a bit accustomed to corruption,  too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Yucun was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Yucun was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)&lt;br /&gt;
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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The story goes that Jia Yucun caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Jia Yucun to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)&lt;br /&gt;
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The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Yucun looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Yucun looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng who he’ve met in the city before. Yucun praised him most as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Yue-ts'un eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Yue-ts'un eagerly and smilingly inquired. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune.&amp;quot; &lt;br /&gt;
&amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting.&amp;quot; While speaking, he invited Yue-ts'un to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)&lt;br /&gt;
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“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter.&amp;quot; While speaking, he invited Yue-ts'un to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Yucun asked: Is there anything new in the capital city? Zixing answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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They two drank and talked about some plans of the near future after the farewell. Then Yucun asked: &amp;quot;Is there anything new in the capital city?&amp;quot; Zixing answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)&lt;br /&gt;
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Yucun laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, aren’t  you the same family?” Yucun asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Yucun said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Yucun said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
The son sighed: &amp;quot;This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past.&amp;quot; Rain village way: &amp;quot;that day ning, rong two house population is also very much, how then deserted?&amp;quot; Zi Xing said, &amp;quot;Exactly. It's a long story.&amp;quot;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
Yu Village road: &amp;quot;Last year when I went to Jinling, because I wanted to visit the ruins of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ning Guo Fu, street west is Rong Guo Fu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)&lt;br /&gt;
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Yucun said, &amp;quot;when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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Zi Xing laughed and said, &amp;quot;You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)&lt;br /&gt;
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Zi Xing chuckled, &amp;quot;You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)&lt;br /&gt;
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In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble.     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations.&amp;quot; When Yucun heard about it, he also said: &amp;quot;Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that Ning and Rong are the most skillful in teaching children. How did they get to such a situation ? &amp;quot;     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei&lt;br /&gt;
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That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last.&amp;quot; Hearing about that, Yucun replied:&amp;quot;a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?&amp;quot;--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Zixing signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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Zi Xing sighed, &amp;quot;I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)&lt;br /&gt;
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His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Mr. Zhen also has a son named Jia Rong who is 16 years old. Now, Lord Jing is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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Mr. Zhen would not do any proper thing but to amuse himself. Even if he turns the Ning Mansion upside down, no one there dares to stop him. Then I will tell you about Rong Mansion where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)&lt;br /&gt;
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Mr Zhen would not do any his proper business，but only amuse himself，and  though he  turned rabbit in Ning Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen here.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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Since the death of Rong Gong, the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Jia She, the second son is called Jia Zheng. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)&lt;br /&gt;
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Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Jinling  as his wife. They had two children: the elder son named Jia She, and the second named Jia Zheng. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son, Jia She, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Jia Zheng, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Jia She inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Jia Zheng, was fond of studying as a child and was a man of upright so that he was his grandfather’s (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Zi Xing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Zheng tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)&lt;br /&gt;
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However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please  sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Jia Zheng may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and the senior Politics Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)&lt;br /&gt;
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This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Zixing said: “ As you said, the winner will be the duke, and the loser will be the traitor?” Yucun said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Baoyu, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Zixing, &amp;quot;no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?&amp;quot; Zi Xing said, &amp;quot;Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time.&amp;quot;--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhenfu. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)&lt;br /&gt;
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Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.&lt;br /&gt;
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Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: ‘Why do you call a sister when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?’ He answered it best, saying, ‘In a time of acute pain, if I call the sister's names, which may relieve the pain or not. However, I do felt the pain lessened a little when I called their names'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zi Xing said, &amp;quot;The three girls in Jia's mansion are not bad either. Jia Zheng's eldest daughter was named Yuanchun. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Jia He'concubine, her name was Yingchun; The third lady was born to Jia Zheng's concubine and was named Tanchun. The fourth lady is the sister of Jia Zhen in Ning' mansion, named Xichun:&lt;br /&gt;
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“ The three girls in the Jia fumily aren ’ t bad either ,” rejoined Zixing .“ Jia Zheng ’s elder daughter Yuanchun was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Yingchun, is Jia She’s daughter by a concubine . The third Tanchun , is Jia Zheng ’ s daughter a concubine . The fourth , Xichun , is the younger sister of Jia Zhen of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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As dowager lady Shi is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault . Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)&lt;br /&gt;
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“As dowager lady Shi is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Yucun said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Jia family have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called Yuan Chun；And the rest followed Chun in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Jia She and Mr.Jia Zheng，and while at home,she was named Jia Min. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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But how could that the Jia family have also become so vulgar in terms of the name of the daughters？&amp;quot;&lt;br /&gt;
&amp;quot;It’s not what you think&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called Yuan Chun；And then the rest had Chun in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Jia She and Mr.Jia Zheng，and while at home,she was named Jia Min.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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If you don’t believe me, check up carefully when you go back. Yucun pounded the table with a laugh. That’s right. The name of my girl student is Daiyu. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now  I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)&lt;br /&gt;
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If you don’t believe me, inquire carefully when you go back. Yucun pounded the table and smiled :”That’s right. The name of my girl student is Daiyu. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)&lt;br /&gt;
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No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Jia Yucun says: That's it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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Zi Xing said:&amp;quot; Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores.  After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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After hearing this, Yucun laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Zixing said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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Yucun said: &amp;quot;I have to drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Help yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It's getting dark. We'd better continue our talk after entering the city in case the gate is shut.&amp;quot; --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said: &amp;quot;I accidentally drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Enjoy yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It has been dark. We'd better continue our talk after entering the city in case the gate shuts.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you.&amp;quot; Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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&amp;quot;Wai Ban&amp;quot;(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, while those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called &amp;quot;outside the shift&amp;quot;. Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)&lt;br /&gt;
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Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, and those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officer distribution to the local to wait for the officer, according to the shift, so called &amp;quot;outside the shift&amp;quot;. With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
Wei Yang - an alternative name for Yangzhou (Jiangsu province). It was one of the &amp;quot;nine states&amp;quot; delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': &amp;quot;The Huaihai Sea is only Yangzhou.&amp;quot; The word &amp;quot;but&amp;quot; is synonymous with &amp;quot;wei&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)&lt;br /&gt;
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Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the &amp;quot;Kyushu&amp;quot; divided by Dayu. From the book Shangshu· Xiashu · Yugong  &amp;quot;the Huaihai sea Wei Yangzhou” &amp;quot;Wei&amp;quot; is &amp;quot;wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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Marquis──Ancient noble name. In Qin Dynasty, it was called &amp;quot;Che Hou&amp;quot;, and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to &amp;quot;Tonghou&amp;quot; to avoid the taboo of Han Wudi Liu Che. &amp;quot;Tong&amp;quot; and &amp;quot;Che&amp;quot; are synonymous, which means changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;The Book of Han·Gao Di Jixia&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;Book of Han• Han Gaozu ( the first emperor of Han dynasty)&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says &amp;quot;the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents.&amp;quot; Emperor Xuanzong of Tang Dynasty noted: &amp;quot;Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it. ​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called &amp;quot;Buddha column&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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Stiff: fall down. ​Safety, wealth and honour──From the words &amp;quot;Mencius·All Your Heart&amp;quot;:&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot; -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;br /&gt;
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The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)&lt;br /&gt;
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)&lt;br /&gt;
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The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211124_homework&amp;diff=134559</id>
		<title>20211124 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211124_homework&amp;diff=134559"/>
		<updated>2021-12-29T07:22:37Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。&lt;br /&gt;
I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.&lt;br /&gt;
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I wonder: &amp;quot;don't abandon yourself&amp;quot; is the title, and &amp;quot;Ji Zi&amp;quot; is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes. &lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。&lt;br /&gt;
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Even if it is noted as &amp;quot;Ji Zi&amp;quot; unknown &amp;quot;, it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)&lt;br /&gt;
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Even if it is noted as &amp;quot;unknown Ji Zi&amp;quot; , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。&lt;br /&gt;
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Therefore, I first made reference htiw &amp;quot;Chinese Classical Digital Engineering&amp;quot; and confirmed that there was no such a book called &amp;quot;Ji Zi&amp;quot; in China, which was completely written by Cao Xueqin, just as cao Xueqin wrote &amp;quot;General Examination of Ancient and Modern Characters&amp;quot; and &amp;quot;Selected Chinese Writings in Past Dynasties&amp;quot;. Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called &amp;quot;Ji Zi&amp;quot; in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was  ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。&lt;br /&gt;
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According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.&lt;br /&gt;
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According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is.  In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。&lt;br /&gt;
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There are three points in his conclusion: one, ''Ji Zi'' is &amp;quot;the author fabricated&amp;quot;, and to the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot; is also fabricated and as proof. Second, &amp;quot;this turns out to be a joke&amp;quot;, is Tanchun &amp;quot; take ''Ji Zi'' to resist&amp;quot; Baochai and used to press people by citing Zhu Zi and Confucius, and &amp;quot;higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)&lt;br /&gt;
There are three points in his conclusion: first, ''Ji Zi'' is &amp;quot;fabricated by the author&amp;quot;, and can be proved by the fabrication of the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot;. Second, &amp;quot;this turns out to be a joke&amp;quot;, which Tanchun &amp;quot; held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。&lt;br /&gt;
Thirdly, &amp;quot;Someone may ask why messing around and making a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)&lt;br /&gt;
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Thirdly, &amp;quot;Someone may ask why to mess around and make a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s  ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。&lt;br /&gt;
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As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of  ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)&lt;br /&gt;
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As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named  ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage  was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìna 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。&lt;br /&gt;
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Saying this rare writing through Precious Hairpin Marshgrass,  on the one hand Cao Xueqin showed her strong love of reading  as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not  casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。&lt;br /&gt;
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Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。&lt;br /&gt;
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Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)&lt;br /&gt;
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Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。&lt;br /&gt;
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第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀&lt;br /&gt;
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Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.&lt;br /&gt;
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Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)&lt;br /&gt;
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Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.&lt;br /&gt;
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Chapter 1 Zhen Shiyin, in a vision, apprehends spirituality. Jia Yucun, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人&lt;br /&gt;
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This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of  Zhen Shiyin as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)&lt;br /&gt;
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This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。&lt;br /&gt;
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The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant.&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。&lt;br /&gt;
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In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)&lt;br /&gt;
In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。&lt;br /&gt;
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It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, &amp;quot;The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)&lt;br /&gt;
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, &amp;quot;Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”&lt;br /&gt;
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know  what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. &amp;quot; The stone was overjoyed when he asked, &amp;quot;I don't know what word to engrave? Where to carry it? I hope to beg clearly.&amp;quot; the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist priest. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, K'ung K'ung by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. K'ung K'ung examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure skies, &lt;br /&gt;
in vain I have been into the mortal world for many years. &lt;br /&gt;
These facts are of a former and after life,&lt;br /&gt;
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。&lt;br /&gt;
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As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)&lt;br /&gt;
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。&lt;br /&gt;
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is  better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to  lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)&lt;br /&gt;
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I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。&lt;br /&gt;
What do I mean?&amp;quot; Empty Taoist listen to say so, ponder a long time, will this &amp;quot;stone&amp;quot; review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)&lt;br /&gt;
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What do I mean? &amp;quot; After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。&lt;br /&gt;
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, then changed the name of the monk, &amp;quot;stone&amp;quot; for &amp;quot;love monk record&amp;quot;. Kong Meixi of The Eastern Lu dynasty wrote the book Fengyue Bao Jian. After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''Jinling twelve Hairpin'', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)&lt;br /&gt;
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Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers in Jinlin'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?&lt;br /&gt;
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This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)&lt;br /&gt;
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This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。&lt;br /&gt;
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Now that the origin of the stone is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)&lt;br /&gt;
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The origin of &amp;quot;The Story of the Stone&amp;quot; was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu City. In the city, the quarter around Changmen Gate was one of the most fashionable centres of wealth and nobility in the world of men.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。&lt;br /&gt;
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Outside the city of Changmen gate, there was a Shili street and a Renqing lane was on the street. In the Renqing lane, there was an ancient temple called &amp;quot;Hulu temple&amp;quot; owing to it`s narrow location. Next to the temple lived a hometown official named Zhen Fei, courtesy named Shi Yin; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei&lt;br /&gt;
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Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the &amp;quot;Gourd temple&amp;quot; for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。&lt;br /&gt;
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Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the object you have brought away？&amp;quot; he heard the Taoist inquire. To this question the Buddhist replied with a smile： &amp;quot;Set your mind at ease，&amp;quot; he said； &amp;quot;there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)&lt;br /&gt;
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Unexpectedly he espied, from the opposite direction, A monk and a Taoist coming up to him. As they advanced, they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the thing you have brought away？&amp;quot; He heard the Taoist inquire. The Buddhist replied with a smile: &amp;quot;Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。&lt;br /&gt;
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Taking this opportunity, we can mingle it in them and let it experience the life on earth.&amp;quot; The Taoist said: &amp;quot;So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled.&amp;quot; The monk said: &amp;quot;It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)&lt;br /&gt;
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Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: &amp;quot;The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: &amp;quot;It's a funny story....--  --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。&lt;br /&gt;
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This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Palace. He often walked along the bank of the Spirit River in the West where he saw a delicate and lovely flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)&lt;br /&gt;
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Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun.One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Palace.But he always walks by the bank of the Spirit River.One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。&lt;br /&gt;
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts  in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. &amp;quot;For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Crimson Pearl Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of Fairy Maiden Jinhuan, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I are going to the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also replied with manners.&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Hidden Truth heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”&lt;br /&gt;
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Shi Yinyin said: &amp;quot;What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)&lt;br /&gt;
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Shi Yin then said, &amp;quot;I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is something metaphysical and cannot be divulged in advance.  At that time, just don't forget the two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。&lt;br /&gt;
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He said and took it out to Hidden Truth. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When Hidden Truth craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)&lt;br /&gt;
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Then he said as he took it out and handed it to Shi Yin. Shi Yin took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the dreamland and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。&lt;br /&gt;
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And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “the Great Void Dreamland”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Shih-yin also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)&lt;br /&gt;
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And that Taoist passed a large stone pagoda, written on it four big words, is &amp;quot;Taixu fantasy realm&amp;quot;. On both sides, there is a couplet saying: &amp;quot;Falsehood is true when it is true, and there is nothing where there is nothing&amp;quot;. Shi Yin also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。&lt;br /&gt;
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Shi Yin cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Yinglian in her arms. When Shi Yin noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)&lt;br /&gt;
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Morale Hidden Square cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Pity Link in her arms. Morale Hidden Square perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”&lt;br /&gt;
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Morale Hidden Square then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Morale Hidden Square’s door, seeing him holding Pity Link in his arms. The monk began to cry and said to Morale Hidden Square, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Yinglian in his arms. The monk began to cry and said to Shiyin, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。&lt;br /&gt;
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After listening to him,Shiyin knew that it's crazy words and ignored him.But the monk also said:&amp;quot;Give her to me,give her to me.&amp;quot; Shiyin was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)&lt;br /&gt;
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After listening to him, Shiyin knew that it was lunatic ravings and ignored him. But the monk complemented:&amp;quot;Give her to me, give her to me.&amp;quot; Shiyin got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。&lt;br /&gt;
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When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)&lt;br /&gt;
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”&lt;br /&gt;
Shi Yin understood and hesitated, intending to ask him where he came from. The Taoist said, &amp;quot;You and I don't need to go together. Three days later, I wait for you in north mangshan, meet together, with the imaginary land sales number.&amp;quot; The monk said, &amp;quot;The best, the best.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)&lt;br /&gt;
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Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: &amp;quot;You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number.&amp;quot; The monk said: &amp;quot;The most wonderful, the most wonderful.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。&lt;br /&gt;
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After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: &amp;quot;These two people must have a history.It's time to ask him,but now it's too late to regret.&amp;quot; Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)&lt;br /&gt;
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After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: &amp;quot;These two people surely had some backgrounds. I should have asked him, but it was too late to regret now.&amp;quot; Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Yucun.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。&lt;br /&gt;
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Jia Yucun was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)&lt;br /&gt;
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Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。” &lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, &amp;quot; Sir, you are leaning on the door and looking at something. Is there any news in the market?&amp;quot; Shiyin smiled and said, &amp;quot;No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time.&amp;quot; --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)&lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Shiyin often met with him. At that moment, Yucun saw Shiyin, hurriedly saluted and said with smile, &amp;quot; An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?&amp;quot; Shiyin smiled and said, &amp;quot;Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my study, so that we can spend the long day together.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”&lt;br /&gt;
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While he was talking, he asked someone to take his daughter back to her room. Then he took Yucun to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)&lt;br /&gt;
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While talking, he asked someone to take his daughter back to her room. Then he took Yucun to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot; --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。&lt;br /&gt;
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Shiying stood up hurriedly and said, &amp;quot; Excuse me.Please sit for a moment first, and I will entertain you at once.&amp;quot; Yucun also stood up and answered:&amp;quot; Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!&amp;quot; Said, Shiying had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)&lt;br /&gt;
Shiyin hurriedly got up and thanked, &amp;quot;excuse the crime of cheating driving. Please sit down and my brother will accompany you.&amp;quot; Yucun got up and said, &amp;quot;please help yourself, sir. My late life is a regular guest. Why not wait a minute!&amp;quot; said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。&lt;br /&gt;
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Yucun then got up and looked out. It turned out that it was a servant girl pinching flowers there: Sheng's appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When Fang was about to leave, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.&lt;br /&gt;
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Yuncun was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。&lt;br /&gt;
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have  a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)&lt;br /&gt;
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The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。&lt;br /&gt;
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When a child came in, yucun heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Shiyin had already served guests, knowing that yucun had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.&lt;br /&gt;
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When a child came in, Yucun heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Shiyin had already served guests, knowing that yucun had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 14:30, 28 November 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”&lt;br /&gt;
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After Yucun finished reciting the love poems of Jiao Xing, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Shiyin came to hear it, Shiyin smiled and said, &amp;quot;Brother Yucun is really ambitious!&amp;quot;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)&lt;br /&gt;
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After Yucun finished reciting the love poems of Jiao Xing, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Shiyin came to hear it, Shiyin smiled and said, &amp;quot;Yucun is really ambitious!&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”&lt;br /&gt;
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Yucun laughed and hurriedly said, &amp;quot;No no, I just recite the words of the predecessors. You speak too highly of me!&amp;quot; he asked, &amp;quot;Why did you come here, sir?&amp;quot; Shiyin smiled, &amp;quot;Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)&lt;br /&gt;
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 &amp;quot;Why did you come here, master?&amp;quot;&lt;br /&gt;
 You are lodged with a monk's room alone. --[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 02:18, 29 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。&lt;br /&gt;
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Hearing this, Yucun did not refuse, but said with a smile: &amp;quot;Since I am indebted to you, I dare not live up to this feeling.&amp;quot; Then he and Shiyin came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.&lt;br /&gt;
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They went to the court in front of Shiyin's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly.  At that time, Flutes and  strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly.  At that time, the sound of flutes and  strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”&lt;br /&gt;
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Yucun, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Shiyin with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！&lt;br /&gt;
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Yucun, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Shiyin with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”&lt;br /&gt;
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Shiyin filled another large cup of alcohol. Yucun tossed it off and then signed. &amp;quot;Don't think this is just a talk after being drunk,&amp;quot; he said, &amp;quot;I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say so before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)&lt;br /&gt;
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Shiyin filled another large cup of alcohol for congratulation. Yucun tossed it off and then sighed: &amp;quot;Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say that before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。&lt;br /&gt;
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Shiyin immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, &amp;quot;the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, &amp;quot;the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。&lt;br /&gt;
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Jia Yunchun and Zhen Shiyin drank until midnight and then dispersed. Zhen Shiyin sent Jia Yuchun bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Zhen Shiyin's bad conditions, Zhen Shiyin intended to write two recommendation letters for Jia Yuchun, so Jia Yuchun could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)&lt;br /&gt;
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These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。&lt;br /&gt;
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The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'&amp;quot; Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)&lt;br /&gt;
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When the family came back, they said, &amp;quot;The monk said that Master Merchant had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'&amp;quot; When Hidden Truth heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。&lt;br /&gt;
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Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.&lt;br /&gt;
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Hidden Truth asked his family member trouble beginner to carry  Pity Zhen and go to see the lanterns. In the middle of the night, trouble beginner left Pity Zhen alone sitting on the threshold of a door because of the urgency of urinating. When he came back, Pity Zhen disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。&lt;br /&gt;
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Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Mr. and Mrs. Shi Yin felt something is about to go wrong when they found their daughter didn't go home all night.  They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)&lt;br /&gt;
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Being so anxious, Huo Qi looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Mr. and Mrs. Shi Yin felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Shi Yin was already sick, and his wife Feng shi also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Hidden Truth was already sick, and his wife Feng also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。&lt;br /&gt;
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This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Hiden Truth's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Hidden Truth anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)&lt;br /&gt;
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This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。&lt;br /&gt;
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He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)&lt;br /&gt;
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。&lt;br /&gt;
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His father-in-law's name was Feng Su. His native place was  Such State. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)&lt;br /&gt;
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His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：&lt;br /&gt;
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When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)&lt;br /&gt;
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When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。&lt;br /&gt;
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The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people  know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)&lt;br /&gt;
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All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？&lt;br /&gt;
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All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but  remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)&lt;br /&gt;
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Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s  kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。&lt;br /&gt;
When the hermit heard it, he came up and said, &amp;quot;What are you talking about ?&amp;quot; I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, &amp;quot;If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)&lt;br /&gt;
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Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。&lt;br /&gt;
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So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)&lt;br /&gt;
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So intelligent as Hidden Truth is, he  understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by  courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？&lt;br /&gt;
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive&lt;br /&gt;
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)&lt;br /&gt;
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Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。&lt;br /&gt;
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Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.&lt;br /&gt;
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Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。&lt;br /&gt;
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Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)&lt;br /&gt;
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If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”&lt;br /&gt;
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It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying &amp;quot;All right, all right !&amp;quot; Then Shiyin said, &amp;quot;let's go.&amp;quot;&lt;br /&gt;
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It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, &amp;quot;it's right, it's right!&amp;quot; Shiyin said, &amp;quot;let's go.&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。&lt;br /&gt;
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He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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只得与父亲商议，遣人各处访寻，那讨音信。&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无奈何，只得依靠着他父母度日。&lt;br /&gt;
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He was so helpless that he had to rely on his parents to survive.&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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那封肃虽然每日抱怨，也无可奈何了。&lt;br /&gt;
Although Feng Su complained every day, he was helpless&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。&lt;br /&gt;
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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众人都说：“新太爷到任了。”&lt;br /&gt;
Everyone said: &amp;quot;The new grandfather has arrived&amp;quot;&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。&lt;br /&gt;
When the maid concealed in the door, she saw the military jail and quick hands passing one by one, and the official mansion carrying a black hat and ape robe came in the big sedan chair.&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
The maid was startled, and thought to herself: &amp;quot;This official is so good-natured, but it looks like someone I've seen there.&amp;quot;&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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于是进入房中，也就丢过，不在心上。&lt;br /&gt;
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Then she went into the room and laid the matter aside ，without taking it to heart.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”&lt;br /&gt;
&lt;br /&gt;
English:&lt;br /&gt;
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, &amp;quot;The county's grandfather's messenger is here for questioning!&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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封肃听了，唬得目瞪口呆。&lt;br /&gt;
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Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
不知有何祸事，且听下回分解。&lt;br /&gt;
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Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Psychic -- the abbreviation for &amp;quot;Psychic Treasure&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has &amp;quot;spiritual achievement&amp;quot; and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky, because it has undergone training, has &amp;quot;spiritually achieved&amp;quot; and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
《石头记》──此书的本名。&lt;br /&gt;
&amp;quot;Story of the Stone&amp;quot; - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134354</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134354"/>
		<updated>2021-12-26T11:59:42Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
&lt;br /&gt;
She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
&lt;br /&gt;
Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
&lt;br /&gt;
'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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Sloping shoulders. The ancient people considered such shoulders as the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:59, 26 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134353</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134353"/>
		<updated>2021-12-26T11:58:16Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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She, who is demure as delicate flowers and act like weak willow, is more clever than Bigan(the most clever man in the Legend of Deification) and more beautiful than Xishi(the most beautiful woman in acient China). Precious Jade simled, “I have seen her.”--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:26, 26 December 2021 (UTC)&lt;br /&gt;
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Leisure is like a delicate flower shining on the water, and action is like a weak willow supporting the wind. The heart has more than one orifices than the stem, and like a disease wins Xizi. Baoyu said with a smile, &amp;quot;I've seen this sister.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;nonsense again. Have you ever seen her?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen her, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:22, 26 December 2021 (UTC)&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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Grandma Merchant smiled and said, &amp;quot;Nonsense again. Have you ever seen it?&amp;quot; Precious Jade said with a smile, &amp;quot;Although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Grandma Merchant said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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‘There is a stone in the west named Dai, it can replace the ink of drawing eyebrows.' Besides, her eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:33, 26 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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Baoyu laughed and said, &amp;quot;Besides the Four Books, there are too many things made up.&amp;quot; Again he asked Daiyu, &amp;quot;Do you have any jade?&amp;quot; Everyone was puzzled.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:35, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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Mascara Jade Forest contemplated, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 13:45, 22 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest presumed, “He asked me because he has a jade.” So she answered, “I have no jade. Your jade is a rarity. How could everyone have it?”--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:25, 23 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but nobody could tell lowliness or nobleness.I won't have the waste now!” --[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:19, 26 December 2021 (UTC)&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Grandma Merchant was so distressed that she clasped Precious Jade in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Precious Jade’s face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Grandma Merchant hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You‘d better keep it  well in case your mother notices.” As she spoke, she took the jade from the maid and adorned him herself. When Precious Jade Merchant heard her saying this, he thought for a while and said nothing else. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:18, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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When the nanny came to ask where Mascara Jade should stay, Lady Dowager answered, “ Place Precious Jade in the warm house in my suit and settle your Miss Forest in the Green Voile House temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:34, 22 December 2021 (UTC)&lt;br /&gt;
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Hardly when the nanny came to ask the room of Mascara Jade, Lady Dowager said, “ Place Precious Jade in the warm house with me and settle your Miss Lin  inside the room of the partition door  temporarily until the winter ends. In next spring, you’ll rearrange the room for them.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 11:31, 26 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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Presious Jade said:&amp;quot;Dear mother, I would rather stay on the bed outside the partition door rather than at grandma's to bother her.&amp;quot; The Lady Dowager said thoughtfully:&amp;quot;That's OK.&amp;quot;--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 09:06, 25 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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But let each one of you have a nurse and a waiting-maid; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:22, 22 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:17, 22 December 2021 (UTC)&lt;br /&gt;
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Daiyu had brought her old Wet-nurse Nanny Wang and ten-year-old Xueyan,who had also attended her since she was a child. The Lady Dowager considered Xueyan too young;--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:41, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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Di Bao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:10, 22 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The residence newspaper specially copied and issued imperial edicts, memorials and government news for local officials to understand in time. Di: it used to refer to the guest houses of various princes in the capital during the Warring States period, and later it generally refers to the offices of local officials in Beijing. ​--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:09, 22 December 2021 (UTC)&lt;br /&gt;
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The undertaker is either the local government office in Beijing or the imperial court. The &amp;quot;Di&amp;quot; newspaper(a official gazette) specially copied and issued imperial edicts, memorials and government news for local officials to understand in time.&amp;quot;Di&amp;quot;: Originally referred to the guest hall of the princes in the capital during the Warring States Period, and later generally referred to the Beijing office of the local government.    --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:40, 22 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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Internal Concerns – derived from Yuan Fan's &amp;quot;Policy on the Settlement of Ruru&amp;quot;. “And if Ruru survived, Gaoche would have internal concerns and would have no time to covet the territory of the Emperor.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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“If Ruru was annihilated, wasn’t it easy to know the conceited plan of Gaoche?” (“Ruru”, an alternative name for Rouran Khaganate, can also be called “Ruirui” or “Ruru”. The name of an ancient northern ethnic minorities.)--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:53, 25 December 2021 (UTC)&lt;br /&gt;
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If Ruru was annihilated, would it be easy to know the conceited plan of Gaoche?&amp;quot; (“Ruru”,: an alias for Rouran Khaganate, also known as &amp;quot;Ruirui&amp;quot; and &amp;quot;Ruru&amp;quot;. The name of an ancient northern minority group in the region of China.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
Gao Che: also known as Di Li, Cile, Tie Le, Ding Zero. The name of a minority group in the north of China in ancient times). It means to worry about family or national affairs.--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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Bi Ni E Zhi: a Chiniese idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of Tanchun'image. Cuted shoulders: commonly known as sloping shoulders--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:00, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: charming eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 11:58, 26 December 2021 (UTC)&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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Etiquette Gate--Originally, it refers to the second main door in the gate of the official office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is that officials must be neat and tidy when they arrive at this gate.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:30, 23 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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The Ming Canon - Rituals XVII - Official Rites: &amp;quot;On the day the new official arrives, he first goes to the temple to offer sacrifice, after which he is led to dismount in front of the ceremonial gate, with his official uniform, and enters from the middle road.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:27, 23 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Jiangning official records，organizational system，government &amp;quot;: &amp;quot;inside the system gate is the etiquette gate, and inside the etiquette gate is the visiting hall.&amp;quot; Later extended, the second main gate of mansion is also called etiquette gate.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 09:52, 26 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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Lu Ding: this means flat roof. Er Fang: a room built by using the gable on both sides of a principle room or wing-room.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 12:13, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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Yang Shen of Ming Dynasty said in &amp;quot;Sheng an Outside collection · Animal · Long Sheng Jiu Zi&amp;quot; : &amp;quot;Long sheng Jiu Zi is not a dragon, each has his own good points: prisoner ox, good music in his life, the beast carved on the head of Huqin is his portrait;  --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:32, 26 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
Yapi, who was easy to kill, has a portrait of a dragon swallowing mouth on the gold hilt.  Scene wind, life good risk, this temple corner beast is its portrait;  Pu Lao, life good Ming, this bell on the beast new is its portrait; --[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:28, 26 December 2021 (UTC)&lt;br /&gt;
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Yapi, who likes killing, so the image of a dragon swallowing mouth on the gold hilt is its portrait. Chaofeng, who likes being at risk, so the image of the temple corner beast is its portrait; Pulao, who likes chirping, so the image of the bell on the beast new is its portrait.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:34, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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&amp;quot;It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bi'xi, whose shapes like a tortoise, and it likes carrying heavy things. It is also a tortoise under the stone tablet; The second is Li'wen, whose shapes like a beast, and it is well-known, It often apperas in roof.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:39, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stand in the door of the prison. The fifth is Tao'tie, like eating food, so stand in tripod cover;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:32, 26 December 2021 (UTC)&lt;br /&gt;
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The third one is Pu'lao, who looks like a dragon but is small and easy to roar, and it often appeared in chime. The fourth was Bi'an, who looks like a tiger and is so powerful that he stands in the door of the prison. The fifth is Tao'tie, like eating food, so stands in tripod cover;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:47, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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The sixth is good at water, so it stands on the bridge column; The seventh is called Ya Zi, good at killing, so it stands in the knife ring; The eighth is Jin Ni, like a lion, has a good nature of fireworks, so it stands in the incense burner;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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When Duke Li Wenzheng of Changsha was in the pavilion, Emperor Xiaozong suddenly sent a royal letter and asked about the details of Long Sheng's nine sons.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:32, 26 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，the dragon shaped animal button on the Hong Zhong is its relic; The Qiu Niu loves music all his life. He often squats on the head of the piano to enjoy the music of plucking strings, so his portrait is engraved on the head of the HuQin; Ya Ci is the second child. He is aggressive and likes killing all his life，and swallow a sword with his mouth.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 07:29, 26 December 2021 (UTC)&lt;br /&gt;
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Wen Zheng said , &amp;quot;his son Pu Lao likes roaring，and often appears on the bell; Qiu Niu loves music all his life,accordingly, he becomes a decoration for music instrument, such as two-stringed bowed violin (huqin); Ya Ci likes fighting and killing，people see him as the patron saint of weapons, so he often appears on the weapons.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:08, 26 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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Chao Feng loves adventure,he now often appears on the corner on the housetop; Suan Ni loves sitting quietly, his image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:12, 26 December 2021 (UTC)&lt;br /&gt;
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Chao Feng loves adventure. It's the small decorative animal on the eaves of the housetop; Suan Ni loves sitting quietly. Its image is often found in temples as the mount of Buddha; Bi xi has the power of strength. He loves to carry heavy stuff to show off his magic energy, so under the stele can people see his appearing.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（ 语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now they generally stand on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen which has the ability of swallowing fire becomes the beast heads at both ends of the palace roof. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 07:24, 26 December 2021 (UTC)&lt;br /&gt;
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Bi An is eager for justice and righteousness and can distinguish right from wrong. Now it generally stands on both sides of the lobby of the government office to deter those who violate the law and discipline. Bi Xi, which is fond of reading and writing articles, is gentle. And now it’s the animal winding around on both sides of the stele. Chi Wen, who has the ability of swallowing fire, becomes the beast heads at both ends of the palace roof. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:14, 26 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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In addition, the names, characters and uses of the Dragon's nine sons, which can be seen from folklore, are also different in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration, to show good luck. --[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:53, 23 December 2021 (UTC)&lt;br /&gt;
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In addition, the names, characters and usages of the Dragon's nine sons, which can be seen from folklore, also differ in ''Reference Book of Qian Que'' by Chen Renxi of Ming Dynasty, ''Zhenzhu Boat·The Nine Sons of the Dragon'' by Hu Shi of Ming Dynasty,''Jian Hu's Collection-Vol.10·The Nine Sons of the Dragon'' by Chu Renhuo of Qing Dynasty and ''Tian Lu Shi Yu· Dragon Species'' by Gao Shiqi of Qing Dynasty. People often use the images of the Dragon's nine sons as decoration show auspiciousness.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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The treature of the emporer's notes of handling affairs──This was the inscription on the emperor's seal. Wanji: Country's compliccated government affairs. It was recorded in ''ShangShu·YuShu·The Srategy of Gao Tao'':&amp;quot;Be cautious and practical. There were thousands of complicated government affairs needed to be handled.&amp;quot;&lt;br /&gt;
[ ''ShangShu·YuShu·The Srategy of Gao Tao'' were important documents that recorded the plans and deliberations of emperors and ministers.]&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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Kong Yingda said: &amp;quot;Ji, which refers to the slighest thing, meaning that should be aware of the very small things.&amp;quot; It means that despite the arduous government affairs, no small things can be ignored. Also known as &amp;quot;Wan Ji&amp;quot;.&lt;br /&gt;
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Kong Yingda's biography said: &amp;quot;The word Ji means that before saying something one should fear the smallest of all things.&amp;quot; This means that despite the heavy workload of the government, one should not neglect any small matters. It is also referred to as &amp;quot;ten thousand business&amp;quot;.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 10:00, 26 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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The allusion is from ''Han Shu: The List of Hundred Officials（Previous）'': &amp;quot;The Minister of State and the Prime Minister were both Qin officials, with gold seals and purple ribbons, and were in charge of the Emperor and assisted in all affairs.&amp;quot; This is a description of the emperor's busy schedule of affairs.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:24, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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The allusion is from Han Shu: The List of Hundred Officials（Previous）: &amp;quot;The Ministers of State and the Prime Ministers were Qin officials, with golden seals and purple ribbons, and they were in charge of the Emperor and assisted in all affairs.&amp;quot; Here is the description of the emperor's busy schedule of affairs.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:37, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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Chen:is short for &amp;quot;Beichen&amp;quot;, that is, the Polaris, which was the alternative name of the Emperors because they sat in the North and faced the South in the imperial court. Han：the original meaning is feather, because in ancient times, feather was used as a pen，and it extended the meanig to ink（written words）.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 12:29, 22 December 2021 (UTC)&lt;br /&gt;
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Chen: short for &amp;quot;Beichen&amp;quot;, is the Polaris, which was the alternative name of the Emperors because they sat facing the South in the imperial court. Han：the original meaning was feather, because in ancient times, feather was used as a pen，which extended the meaning to ink（written words）.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 08:45, 24 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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Bao refers to the emperors' seals. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. After Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively by the emperors and empresses.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:02, 24 December 2021 (UTC)&lt;br /&gt;
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Bao refers to the emperors' seals in the article. In ancient time, emperors and dukes all had their seals made of Gui and Bi(precious jade),from which it derived the name &amp;quot;Bao&amp;quot;. Since Tang Dynasty, &amp;quot;Bao&amp;quot; was used exclusively to describe the seals of the emperors and empresses.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:32, 25 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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Couplet &amp;quot;above the seat&amp;quot;─ Gem's original meaning is jewelry, which extended for precious decorations. Zhao Riyue means the decorations as bright as the sun and the moon. Zhao means brightness.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:21, 22 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
Fu Fu (f incarnation fu fu clothing) : refers to embroidered with colorful decorative pattern of the dress. &amp;quot;Yan Zi Spring And Autumn · Jian Next 15&amp;quot; : &amp;quot;I: gongclothes: both clothes, plain embroidered clothes, one dress and Wang CAI yan.&amp;quot; I: black and white axe shape.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:18, 26 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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Fu: black and blue sub-pattern. Huan Yanxia: to describe the embroidered clothing radiates the radiance of smoke and clouds. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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Fu: black and green sub shaped pattern. Huanyanxia: to describe that the embroidered clothes radiate smoke like glow, gorgeous and colorful. Huan: radiate brilliance. This couplet describes the guests of honor are glittering jewels, gorgeous clothes.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:30, 26 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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Ruyao Beauty Gu-- A wine container from the famous Ruyao. Ruyao: Ruzhou porcelain kiln in the Northern Song Dynasty. Because its celadon ware is of excellent quality and mostly tribute, it is famous all over the world and has become a collection treasure in future generations.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 09:59, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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Beauty porcelain（mei ren gu）: so named because of its long waist and resemblance to a beauty. &lt;br /&gt;
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Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.&lt;br /&gt;
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Beauty porcelain ：so named because of its long body and slender waist and resemblance to a beauty. &lt;br /&gt;
Chairs（Yi da） - also known as 'chairs'（Yi pi）. This is a rectangular fabric chair upholstery. The name is derived from the fact that it is placed on the back of the chair or on the seat of the chair.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:12, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married Tu Shan,under the cicumstance of a strong wind, together with thunder and lighting, there were a thousand soldiers who were not equipped with armor but decorated their foreheads with a thin red handkerchiefs in anticipation of the arrival of the god of clouds.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 12:42, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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It was a sign of soldiers. Later, it was popularized to ordinary men. Common people tied their hair with cloth towels, and the rich tied their hair with gold hoops, which was also used as headwear. ​&lt;br /&gt;
Arrow Sleeves - also known as &amp;quot;Arrow Suit&amp;quot;.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:13, 24 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
A man must bend his right knee or kneel on the ground while showing respect.&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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&amp;quot;Westlake Moon&amp;quot; is one of the tune names of poem. There are a lot of tune names in the book, which will not annotated one by one below.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:49, 26 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=133954</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=133954"/>
		<updated>2021-12-19T12:12:26Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had received  his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 11:51, 13 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
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Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
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The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
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Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
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A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
泪光点点，娇喘微微。&lt;br /&gt;
&lt;br /&gt;
Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=133807</id>
		<title>Trans Type EN 7</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=133807"/>
		<updated>2021-12-16T03:43:27Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of Kong I-Chi as a Case */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianan, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
&lt;br /&gt;
===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original”. Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory. (Nida 1964:159)&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did”, but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it”, and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.(Nida 1993: 118)&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
&lt;br /&gt;
4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
&lt;br /&gt;
=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge &lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A.（2001） ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
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[2]Nida E.A.（1964） Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida E.A.&amp;amp;Charles R.Taber（1969） ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]Lu Xun鲁迅（1981）.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京:人民文学出版社Beijing:People's Literature Publishing House ,1982.&lt;br /&gt;
&lt;br /&gt;
[5]Tan Zaixi谭载喜（1999）．新编奈达论翻译New Nida's Translation[M]．北京：中国对外翻译出版公司Beijing:China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]Yang Jianding杨坚定，Sun Hongren孙鸿仁（1936）．鲁迅小说英译版本综述 A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
&lt;br /&gt;
[7]伊塞尔Iser（1998）.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press.&lt;br /&gt;
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[8]Yang Xianyi杨宪益, Dai Naidie戴乃迭（1957）译.鲁迅选集英文版(一) Selected Works of Lu Xun (一)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<summary type="html">&lt;p&gt;Qing Jianan: /* Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of Kong I-Chi as a Case */&lt;/p&gt;
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&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
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秦建安 QinJianan, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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'''Correction'''The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but also as close as possible to the original text in terms of syntactic structure and wording. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:09, 14 December 2021 (UTC)&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
Yang Xianyi and his wife Gladys Yang are great translators beyond all doubt. &lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
As one of Nida’s major contributions  to contemporary translation studies.&lt;br /&gt;
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The translation of Lu Xun's novels during the period of Yang and Dai reaches its heyday. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:24, 14 December 2021 (UTC)&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original”. Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory. (Nida 1964:159)&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did”, but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it”, and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.(Nida 1993: 118)&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of messages.&lt;br /&gt;
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The first stage is  starting from the essence of language;&lt;br /&gt;
At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensure smoothness of the translation as much as possible. &lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quantity.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:33, 14 December 2021 (UTC)&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s response.&lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which were pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information needs to be filled in by the reader himself. &lt;br /&gt;
The fourth part is the identity theme. In other words,--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:39, 14 December 2021 (UTC)&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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'''Correction''' &lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aimed to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:41, 14 December 2021 (UTC)&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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'''Correction''' &lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who were bullied and oppressed and lost their dignity as human beings.&lt;br /&gt;
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The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spirituality and ideology by the feudal education system in the dark old society. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:45, 14 December 2021 (UTC)&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for readers &lt;br /&gt;
Yang’s translation explicitly showed the deep meaning with loss of cultural characteristics .&lt;br /&gt;
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The phrase “之乎者也” was translated into “archaic” which stands for the use of an archaic expression.&lt;br /&gt;
Later, it is used to ridicule the scholars who only know how to analyze words while cannot solve practical problems.&lt;br /&gt;
The word “archaism” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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The same in the word “秀才” in this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belongs  to the imperial system. “秀才” is a subject for selecting officials in ancient China,--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:53, 14 December 2021 (UTC)&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
In ''Kong I-Chi'', when Kong I-Chi took  his money and ordered some food,--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:55, 14 December 2021 (UTC)&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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'''Correction''' In such card games, the characters are always drawn on red paper. For children in ancient China, the card games were easy to play and was a childhood memories.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 05:00, 14 December 2021 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A.（2001） ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
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[2]Nida E.A.（1964） Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida E.A.&amp;amp;Charles R.Taber（1969） ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]Lu Xun鲁迅（1981）.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京:人民文学出版社Beijing:People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]Tan Zaixi谭载喜（1999）．新编奈达论翻译New Nida's Translation[M]．北京：中国对外翻译出版公司Beijing:China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]Yang Jianding杨坚定，Sun Hongren孙鸿仁（1936）．鲁迅小说英译版本综述 A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser（1998）.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press.&lt;br /&gt;
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[8]Yang Xianyi杨宪益, Dai Naidie戴乃迭（1957）译.鲁迅选集英文版(一) Selected Works of Lu Xun (一)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133077</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=133077"/>
		<updated>2021-12-14T13:28:52Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of Kong I-Chi as a Case Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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'''浅析美版《甄嬛传》的字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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阳佳颖 Yang Jiaying, Hunan Normal University, China&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
'''交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例'''&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
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刘越Liu Yue,Hunan Normal University,China&lt;br /&gt;
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=Chapter 4: On Translation Strategies and Translation Methods in Chinese Translation of English Prose -- A Case Study of Chinese Translation of English Prose &amp;quot;Pleasures of Ignorance&amp;quot;=&lt;br /&gt;
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'''浅析英语散文汉译中的翻译策略和翻译方法——以英语散文《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue, Hunan University, China&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=Chapter 8:Translation methods and strategies applicable to the style of biographical literature -- Taking ''Incidents in Life of Slave Girl'' (excerpt) as an example=&lt;br /&gt;
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'''传记文学的文体所适用的翻译技巧与策略——以英文传记《一名女奴的人生际遇》(节选)为例'''&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
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颜子涵 Yan Zihan, Hunan Normal University, China&lt;br /&gt;
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=Chapter 9: On the Translation Strategies of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hung-ming and Xu Yuanchong=&lt;br /&gt;
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'''视域融合视角下看《论语》英译的翻译策略—以辜鸿铭和许渊冲的英译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_9]]&lt;br /&gt;
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邝艳丽 Kuang Yanli, Hunan Normal University, China&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012:37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær 2015:10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005:9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004:1). Translation is essential for cultures and languages to exchange information. Newmark defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects(Newmark 1988:2). Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style(Nida 1964:32). Larson has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context(Larson 1998:23).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC) &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”(Snell-Hornby 1988:33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957:167). By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003:16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988:81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:41, 13 December 2021 (UTC)&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988:7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988:5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988:7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language”(Catford 1965:20). According to Venuti translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader”(Venuti 1995:18). Schjoldager stated that“a translation is a text that expresses what another text has expressed in another language”(Schjoldager 2008:19). Culture is a complex whole which includes knowledge,belief,art,law,morals,customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014:2). Hermanns contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures(Hermanns 1999:22) Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014:2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001:328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora,fauna,food,clothes,housing, work,leisure,politics,law,and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988:327) Christine Nord names them “culturemes” (Nord 1997:9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012:1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Davies 2003:17), others choose cultural words (Newmark 2003;87) or culture-bound phenomena/concepts (Newmark 2003:7). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker 1992:21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988:94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988:95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988:95).--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85:22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003:16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:02, 13 December 2021 (UTC)&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
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3. Types of Translation &lt;br /&gt;
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Newmark determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
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3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015:15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original(Newmark 1988: 18).&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:05, 13 December 2021 (UTC) &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela translators need to choose several strategies based on the source language culture and target culture. Shee distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, she tries to command by the level of their intercultural intervention. She divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies).(Aixela 1996:86)&lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation,the less compelling process includes repetition,orthographic adaptation,linguistic translation,extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition:In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus,the translator keeps as much as possible the original reference (Aixela 1996:61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here,the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes,endings,words,ideas,translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss:It's like the past but the translator feels that he/she can include the globe as an indirect part of the text,not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According Aixela “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here&amp;quot;(Aixela 1996:87)--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC) &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela 1997:63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Ketabi 2015:8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela 1996;64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela 1997:43). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker's Translation Strategies &lt;br /&gt;
Baker's strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation.Baker She suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies(Baker 1992;90) which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker,this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution:This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development.&lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view,however,Baker,s translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:40, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
&lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
&lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.”(Newmark 1988:90)  &lt;br /&gt;
&lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
&lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
&lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
&lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
&lt;br /&gt;
Newmark established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items. (Newmark 1988:97) --[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:50, 13 December 2021 (UTC)&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996:31)“translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by Newmark (1988)“translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.”(Newmark 1988:81)&lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation,then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 16:55, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity,as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts,the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term,and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part,but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:01, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark's strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However,the translator must be competent in using the translation procedures to provide an accurate translation.--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 17:05, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
Zohaib Chand, Hunan Normal University,China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
&lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
Strategies of Translation&lt;br /&gt;
&lt;br /&gt;
Different strategies are considered in the field of translation with utmost experiences and works&lt;br /&gt;
&lt;br /&gt;
What is a strategy?&lt;br /&gt;
&lt;br /&gt;
The word strategy is used in many contexts. In translation studies many theorists have used the term translation strategies widely but with some considerable differences in the meaning and the perspective from which they look at it. A list of more general definitions of the word strategy is given below:&lt;br /&gt;
&lt;br /&gt;
•	A strategy is a long-term plan of actions designed to achieve a particular goal (Wikipedia Committee)&lt;br /&gt;
•	A systematic plan, consciously adapted and mentioned, to improve one's learning performance (Instruction Curriculum Reading Glossary)&lt;br /&gt;
•	A strategy is a planned, deliberate, goal-oriented (has an identifiable outcome) procedure achieved with a sequence of steps subject to monitoring and &lt;br /&gt;
        modification (Curriculum Learning Literate-Futures Glossary)&lt;br /&gt;
•	A set of explicit mental and behavioral steps used to achieve a specific outcome (Deep Trance)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Clearly, these definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the above-mentioned definitions can be narrowed down to this research field, as well. Translation strategies have their own characteristics, through which one can gain an appropriate understanding of them.&lt;br /&gt;
Generally speaking, a translator uses a strategy when he/she encounters a problem while translating a text; this means, when a translator translates a text literally, translation strategies may not be needed. Bergen (n. d.) mentions that strategies are not obvious and trivial. Although, when they translate word for word and use a dictionary, beginners in the area of translation think they have made a good translation; they do not understand that a problem still exists and changes must be made at some levels of the translation. Therefore, problem-solving is the most important function of the strategies. However, the question that arises here is: what is a translation problem?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation problems&lt;br /&gt;
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According to Dr. Miremadi (1991), translation problems are divided into two main categories: lexical problems and syntactic problems.&lt;br /&gt;
&lt;br /&gt;
1. Lexical problems&lt;br /&gt;
&lt;br /&gt;
In the interpretation of lexical problems, Miremadi states that, although words are entities that refer to objects or concepts, a word in one language may not be substituted with a word in another language when referring to the same concepts or objects.&lt;br /&gt;
&lt;br /&gt;
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He divides lexical problems into five subcategories:&lt;br /&gt;
&lt;br /&gt;
•	Straight/ denotative meaning&lt;br /&gt;
&lt;br /&gt;
This kind of meaning refers to those words of the source text that can be matched with those of the target text &amp;quot;without missing images&amp;quot; (e.g. mother, father, etc).&lt;br /&gt;
&lt;br /&gt;
•	Lexical meaning&lt;br /&gt;
&lt;br /&gt;
Lexical meaning refers to words or phrases which seem to be equivalen, although in that situation this may not be the case; the translator must be aware of the intention beyond the words in order not to misrepresent the author's message.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Metaphorical expression&lt;br /&gt;
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This subcategory refers to the problematic issues of translating idioms and similar expressions.&lt;br /&gt;
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Broeik (1981) quoted by Dr. Miremadi (1991) offers the following suggestions for translating idiomatic expressions:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Distinguishing between ordinary expressions and metaphors&lt;br /&gt;
•	Having access to the resources of translating a single metaphor&lt;br /&gt;
•	Being aware of different contexts and their constraints on using metaphors&lt;br /&gt;
•	Correctly realizing the constraints on the translation, and rendering the message.&lt;br /&gt;
•	Semantic voids&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This subcategory includes those words and/or expressions that represent concepts that cannot be found in other special communities. The close equivalents may be found, although the exact equivalent cannot.&lt;br /&gt;
According to Dr. Miremadi (1991), this may happen in two cases, subjects to extra-linguistic factors such as those words that have referents in a certain speech community but not in others, and subject to intra-linguistic factors such as those concepts that may exist in two language communities but the structure of their use may be completely different, Dagut (1931) believes, as Dr. Miremadi (1991) mentioned, that this case occurs when the systems of lexicalization of shared expressions are different from each other.&lt;br /&gt;
&lt;br /&gt;
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•	Proper names&lt;br /&gt;
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The last but not the least sub-category in this group is the problem of proper names. Although proper names refer to individuals and can be transcribed from one language into another, sometimes the specific meaning that they carry, which do not exist in the target speech community, may be lost (e.g. Asghar Rize in Persian).&lt;br /&gt;
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2. Syntactic problems&lt;br /&gt;
&lt;br /&gt;
Syntactic problems are the other main category of translation problems; as Dr. Miremadi (1991) quoted Nida (1975), one can find no two languages that have the exact identical systems of structural organizations (i.e. language structure varies from one language to another).&lt;br /&gt;
&lt;br /&gt;
These differences include:&lt;br /&gt;
a.	Word classes&lt;br /&gt;
Languages differ from each other in the internal word formation of language classification.&lt;br /&gt;
b.	Grammatical relations&lt;br /&gt;
this difference exists among the languages in the way that a constituent of a sentence functions within that sentence.&lt;br /&gt;
c.	Word order&lt;br /&gt;
d.	Style&lt;br /&gt;
e.	Pragmatic aspects&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Considering all these problems, a translator is expected to convey the message of the source text to target readers; however, there is no completely exact translation between any two languages and as Dr. Miremadi (1991) quoted Werner (1961), the degree of approximation between two language systems determines the effectiveness of the translation.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies Typologies ===&lt;br /&gt;
&lt;br /&gt;
Different scholars suggest various types, categorizations and classifications for the strategies according to their particular perspectives. Here, some of these typologies are mentioned.&lt;br /&gt;
Chesterman (1997), as Bergen (n. d.) stated, believes that in translation strategies' field there is &amp;quot;considerable terminological confusion&amp;quot;. As Chesterman (1997) believes, the general characteristics of translation strategies are as follows:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective. (It means the strategies must be empirical and understandable for the readers not the person who used them.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations: 1. Comprehension strategies, 2. Transfer strategies, 3. Production strategies&lt;br /&gt;
By his classification, he meant: first, we read and comprehend a text. Second, we analyze the differences between the source text and the target one, and we must decide on the kinds of strategies which we are up to use them. And lastly, we produce the equivalent text in the target language.&lt;br /&gt;
&lt;br /&gt;
=== Method of Translation ===&lt;br /&gt;
&lt;br /&gt;
The grammar–translation method is a method of teaching foreign languages derived from the classical method of teaching Ancient Greek and Latin. In grammar–translation classes, students learn grammatical rules and then apply those rules by translating sentences between the target language and the native language. A method of translation encompasses various techniques and strategies applied at the textual level to transfer a source language into a target language in the light of a translation assignment and a contextual situation of communication. &lt;br /&gt;
The method used is decided prior to the act of translating, depending upon several factors. According to Schaffner (1998), primary norms, preliminary norms, and procedural norms manage the act of translating before and during the process. Preliminary norms will determine the reason why the specific text is selected for translation; primary norms determine which general strategies will be used while procedural norms are about the micro techniques used at the word and sentence level. &lt;br /&gt;
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There have always been controversies on the best way to translate as, &lt;br /&gt;
&lt;br /&gt;
“Should translator only translate as faithfully and close to the original text as possible? Or should they take some license with the original and confirm their translation to all norms and nuances to the target language?  Should they keep the flavor by the original by means of loans, calques and other techniques or should they convert the means of expressing meaning of the original source text into the usual language and text? &lt;br /&gt;
There are a number of techniques that can be used for individual words and phrases. By carefully choosing the right technique, the translator can convey each linguistic element in the most accurate way.&lt;br /&gt;
&lt;br /&gt;
Here are seven common translation techniques that we can use to translate your document and achieve the best translation.&lt;br /&gt;
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Direct Translation Techniques&lt;br /&gt;
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These translation techniques are used when the concepts and structure of the source language can be used in the target language.&lt;br /&gt;
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1. Borrowing&lt;br /&gt;
&lt;br /&gt;
Borrowing is where words or expressions are taken directly from the source text and carried over into the target language. This technique is often used when there is no target language equivalent, such as food or clothing, and can help to preserve the cultural context of the source text.&lt;br /&gt;
English is filled with borrowed words that have become part of our everyday language. If the borrowed term has yet to enter common usage, it’s usually written in italics.&lt;br /&gt;
Example: Café (French), hamburger (German), kimono (Japanese) and kimchi (Korean).&lt;br /&gt;
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2. Calque (loan translation)&lt;br /&gt;
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This is the literal translation of a phrase from one language into another, coining a new term in the target language. In other words, this is the literal translation of a borrowed word.&lt;br /&gt;
Example: The English term ‘skyscraper’ is translated as ‘gratte-ciel’ in French.&lt;br /&gt;
&lt;br /&gt;
3. Literal Translation&lt;br /&gt;
&lt;br /&gt;
When using literal translation, each word is translated directly. The target text must be idiomatic and retain the same word order, meaning and style as the source text.&lt;br /&gt;
This technique can miss the nuances of the original text, and is only possible with languages and cultures that are extremely close.&lt;br /&gt;
Example: The English ‘I want a glass of water’ would be translated literally as ‘Je veux un verre d’eau’ in French.&lt;br /&gt;
&lt;br /&gt;
Indirect Translation Techniques&lt;br /&gt;
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Indirect or oblique translation techniques are used when the two languages and cultures are further apart. These techniques change structural and conceptual elements in order to preserve the meaning and nuance of the text.&lt;br /&gt;
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1. Transposition&lt;br /&gt;
&lt;br /&gt;
Transposition involves a shift from one grammatical category to another, while still preserving the meaning. This translation technique is often necessary between languages with different grammatical structures.&lt;br /&gt;
Example: The French sentence, ‘Je l’ai vu avant la rentrée’ can be rendered in English as ‘I saw her before school started.’ This changes the noun ‘la rentrée’ into a verb.&lt;br /&gt;
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2. Modulation&lt;br /&gt;
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This involves a change of perspective, adjusting what has been written in order to express the same idea and preserve the meaning. This translates the text in a way that conforms to the natural patterns of the target language.&lt;br /&gt;
Example: A French speaker will talk about the ‘dernier étage’ [literally; last stage] of a building, while an English speaker will refer to the ‘top floor’.&lt;br /&gt;
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3. Equivalence/Reformulation&lt;br /&gt;
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Similar to modulation, this allows you to preserve the meaning of an expression, name or proverb by finding a target language equivalent.&lt;br /&gt;
Example: The phrase ‘être sur son 31’ [literally; to be on one’s thirty-one] would be the French equivalent to the English phrase ‘to be dressed up to the nines’.&lt;br /&gt;
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4. Adaptation&lt;br /&gt;
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Also known as cultural substitution, cultural elements of the source language are replaced with an equivalent cultural element of the target language. This makes the text more familiar and easier to understand, especially with units of measurement.  &lt;br /&gt;
Example: Cyclisme (French) = football (UK) = baseball (US).&lt;br /&gt;
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5. Compensation&lt;br /&gt;
&lt;br /&gt;
This technique compensates for being unable to translate a nuance or phrase in one specific place by expressing the information at another point in the document.&lt;br /&gt;
Example: While the English language only has one way of saying ‘you’, French has both ‘tu’ (informal) and ‘vous’ (formal). By making specific word choices elsewhere in the text, the translator can compensate for the loss of nuance. &lt;br /&gt;
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6. Reduction&lt;br /&gt;
&lt;br /&gt;
When using reduction, the translator chooses to remove any words forming the original text which are considered redundant in the target language. &lt;br /&gt;
Example: The French ‘sciences politiques’ [literally; political sciences] can be rendered in English as just ‘politics’.&lt;br /&gt;
&lt;br /&gt;
7. Expansion&lt;br /&gt;
&lt;br /&gt;
The opposite of reduction, this is when words are added in order to preserve meaning. This can be due to differences in sentence structure, grammar or terminology.&lt;br /&gt;
Example: The reverse of reduction, ‘politics’ in English would be rendered as ‘sciences politiques’ in French. Since French also uses gender articles, expansion is natural when translating from English into French.&lt;br /&gt;
&lt;br /&gt;
Choosing the right techniques for the best translation&lt;br /&gt;
&lt;br /&gt;
The right technique will vary on a case-by-case basis, taking into account the text type, target reader and end purpose of your translation. Our team of professional translators will use their experience and expertise in both languages to choose the right technique for your text, giving you the most accurate translation possible.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
In this study, translation in general, translational problems and mainly translation strategies were described, and different theoretical examples of translation strategies were mentioned. It was shown that different theorists suggest various definitions of translation strategies according to their different perspectives. Moreover, it was mentioned that Baker (1992) lists the most applicable set of strategies. She does not just name the strategies, but she also shows the application of each. This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. Moreover in this conclusion, it has explored the clear definition of translation as well as helps the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempted to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
1.	AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita Islamic University of Indonesia&lt;br /&gt;
2.	Journal of King Saud University - Languages and Translation Volume 23, Issue 1, January 2011&lt;br /&gt;
3.	Pan-Pacific Association of Applied Linguistics 13(2), 23-41 Style Shift in Translation Jamal Al-Qinai Kuwait University&lt;br /&gt;
4.	https://www.intertranslations.co.uk/&lt;br /&gt;
5.	Translation types versus translation methods: some technical, literary and pragmatic examples&lt;br /&gt;
6.	Translation Strategies: A Review and Comparison of Theories by Zohre Owji, M.A)&lt;br /&gt;
7.	Pragmatic translation and literalism Peter Newmark) Volume 1, numéro 2, 2e semestre 1988&lt;br /&gt;
8.	Language blog, translation, culture, literature Published on - May 29, 2017&lt;br /&gt;
9.	Source of Wikipedia and different citations have been also observed.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question that &amp;quot;what is idiomatic expression&amp;quot;  and the views of various critics, theorists and linguistic experts, and prominent scholars of translation studies.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC) Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda 2006: 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984: 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992: 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to Newmark, “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”(Newmark 1981: 11).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:38, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to Corelli, English has a sizeable idiomatic base. About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.(Corelli 2006: 53)&lt;br /&gt;
&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to Baker is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.(Baker 1992: 65)&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 15:44, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from various perspectivess. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented.(Venutti !995, 35 Krings defines it as the content of the project, while Seguinet divided the term into three steps.(Krings 2000:21). However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. (Locher 2002:76) In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward. (Bergen 1996:33)&lt;br /&gt;
&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint. (Vinute 1998:41).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to Seguinot (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.(Seguinot 1989:27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Loescher defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot;(Loescher 1991:8) As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998:4) claim moreover, 'Bell' distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.(Bell 1998:188)&lt;br /&gt;
&lt;br /&gt;
According to Venuti, &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot;(Venuti 1998, 240). He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to Jaaskelainen, product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.(Jaaskelainen 2005:15)&lt;br /&gt;
&lt;br /&gt;
Furthermore, Jaaskelainen distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making.(Jaaskelainen 2005:16). Newmarkdistinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;(Newmark 1988, 221)&lt;br /&gt;
&lt;br /&gt;
Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016:13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010:15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017:54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984:12). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
&lt;br /&gt;
Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985:9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female..(Ahsan 2020: 12-27)--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:31, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
In this paper, various strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.(Baker, 1992, 13)&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:38, 13 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan 2001:3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are firstly identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka aik mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of 'Paraphrasing' because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. Beaugrande and Dressler define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot;(De Beaugrande and Dressler 1981, 50) Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; (Hirst 1980:12) Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. (Munday 1981:13).--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 16:55, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002:49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998:77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected.Vinay and Darbelnet 1999:18)&lt;br /&gt;
Consequently, based on the Above mentioned studies using 'Paraphrasing' in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000:90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As Baker states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type.(Baker 1992:12)&lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988: 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
Mandelbit believed that idioms with different cognitive mapping in the target language would be more challenging to translate.(Mandelbit 1995:40)  After conducting this study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, it also reflects strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:18, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
By going through the detailed discussion and analysis of the data collected, it was finally concluded that the idioms which are present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.         &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 17:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
Muhammad Saqib Mehran, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Introduction:&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task &lt;br /&gt;
poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units &lt;br /&gt;
such as idioms and collocations. Typical problems of ambiguity are discussed in Section &lt;br /&gt;
6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. &lt;br /&gt;
Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are &lt;br /&gt;
the size of the company, as evidenced by the number of rules and &lt;br /&gt;
dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. &lt;br /&gt;
While there is a reasonable description of a phenomenon or construction, &lt;br /&gt;
there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
In this chapter we will look at some of the particular problems that translation task poses for the machine translation system manufacturer, some of the reasons why translation is difficult. Ambiguity, (ii) problems arising from structural and lexical differences between languages, and (iii) multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2, lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many &lt;br /&gt;
constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented &lt;br /&gt;
or by what rules they are to be described, even in well-studied English . and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction, there is no trivial problem in creating a description that is accurate enough to be used by an automated system.&lt;br /&gt;
&lt;br /&gt;
Correction: In this chapter, some of the particular problems that translation task poses for the machine translation system manufacturer and some of the reasons why translation is difficult will be discussed.First of all, it is ambiguity that cause problems to arise from structural and lexical differences between languages, and multi-word units such as idioms and collocations. Typical problems of ambiguity are discussed in Section 6.2,lexical and structural mismatches in Section 6.3, and units in Section 6.4. Of course, these kinds of problems aren't the only reasons TM is difficult. Other issues are the size of the company, as evidenced by the number of rules and dictionary entries a realistic system needs, and the fact that there are many constructions whose grammar is not well understood, in the sense that that they are not well understood. It is clear how they are to be presented or by what rules they are to be described, even in well-studied English, and for which there are detailed descriptions - both traditionally &amp;quot;descriptive&amp;quot; and &amp;quot;descriptive&amp;quot; theoretically sophisticated - some of which were written with arithmetic usability in mind.It's an even worse problem for other languages. While there is a reasonable description of a phenomenon or construction,there is no trivial problem in creating a description that is accurate enough to be used by an automated system.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:50, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
In the high-quality of all feasible worlds(as some distance as maximum Natural Language Processing is concerned, anyway) each phrase could have one and simplest one meaning. But, as all of us know, that is not the case. When a phrase has a couple of meaning, it's miles stated to be lexically ambiguous. When a word or sentence may have a couple of shape it's miles stated to be structurally ambiguous.&lt;br /&gt;
Ambiguity is a pervasive phenomenon in human languages. It could be very tough to locate words that aren't at the least methods ambiguous, and sentences which are (out of context) several methods ambiguous are the rule, now no longer the exception. This isn't simplest tricky because a number of the options are unintended (i.e. constitute incorrect interpretations), however because ambiguities ‘multiply’. In the worst case, a sentence containing words, every of which is methods ambiguous can be 4 methods.&lt;br /&gt;
&lt;br /&gt;
(1)(a) Do not use abrasive cleaners on the printer cabinet.&lt;br /&gt;
(b) The use of abrasive cleaners on the printer housing is not recommended. In the first sentence the usage is a verb and in the second a noun, that is, we have a case of lexical ambiguity. An English-French dictionary says that the verb can be translated by (ua) to operate by and employers, while the noun is translated with employment or use. &lt;br /&gt;
A reader or automated parser can determine if a noun or verb is used in a sentence by finding out whether it is grammatically possible to have a noun or verb where it occurs. In English, for example, there are no grammatical word sequences that make up the V PP, so of the two possible parts of speech to which the usage can belong, only the noun in the second sentence is possible (1b). &lt;br /&gt;
&lt;br /&gt;
As we showed in Chapter 4, we can provide translation engines with information about grammar in the form of grammar rules. As a noun, it can refer to both the familiar little round object used to attach clothes, and the button on a device. In order for the machine to choose the correct interpretation, we must give it information about the meaning dangerous, since applying a grammar to a sentence can produce a number of different parsees depending on how the rules are applied, and we may end up with one get large number of alternate parses on a single sentence Ambiguity can match true meaning ambiguity, but very often it does not, and it is when it does. not that we want to eliminate by applying information approximately meaning. We can illustrate this with a few examples. First, allow us to display how grammar rules, differ- ently applied, can produce multiple syntactic evaluation for a sentence. One manner this can arise is in which a phrase is assigned to multiple class with inside the grammar. For example, anticipate that the phrase cleansing is each an adjective and a verb in our grammar. This will permit us to assign one of a kind analyses to the subsequent sentence.&lt;br /&gt;
&lt;br /&gt;
(2) Cleaning fluids may be dangerous&lt;br /&gt;
One of those analyses may have cleansing as a verb, and one may have it as an adjective. In the former (much less plausible) case the experience is ‘to smooth a fluid can be dangerous’, i.e. it's miles approximately an pastime being dangerous. In the latter case the experience is that fluids used for cleansing may be dangerous. Choosing among those opportunity syntactic analyses requires information approximately meaning. It can be really well worth noting, in passing, that this ambiguity disappears while can is changed through a verb which suggests wide variety settlement through having one of a kind paperwork for 1/3 character singular and plural. For example, the subsequent aren't ambiguous on this manner: (3a) has most effective the experience that the movement is dangerous, (3b) has most effective the experience that the fluids are dangerous. &lt;br /&gt;
&lt;br /&gt;
(3) a. Cleaning fluids is dangerous. b. Cleaning fluids are dangerous. &lt;br /&gt;
We have visible that syntactic evaluation is beneficial in ruling out a few incorrect analyses, and this is every other such case, since, through checking for settlement of challenge and object, it's miles possible to discover the perfect interpretations. A gadget which not noted such syntactic information might must take into account these kind of examples ambiguous, and might must discover a few different manner of operating out which experience turned into intended, going for walks the chance of creating the incorrect choice. For a gadget with right syntactic evaluation, this trouble might get up most effective with inside the case of verbs like can which do now no longer display wide variety settlement. Another supply of syntactic ambiguity is in which complete phrases, commonly prepositional phrases, can connect to multiple function in a sentence. For example, with inside the following example, the prepositional word with a Postscript interface can connect both to the NP the phrase processor package, meaning “the phrase-processor that is outfitted or provided with a Postscript interface”, or to the verb connect, wherein case the experience is that the Interface is for use to make the connection. &lt;br /&gt;
&lt;br /&gt;
(4) Connect the printer to a phrase processor package deal with a Postscript interface. Notice, however, that this situation isn't always surely ambiguous at all, expertise of what a Postscript interface is (in particular, the reality that it's miles a bit of software, now no longer a bit of hardware that would be used for creating a bodily connection among a printer to an workplace computer) serves to disambiguate. Similar issues stand up with (5), which could suggest that the printer and the phrase processor each want Postscript interfaces, or that only the phrase processor desires them.&lt;br /&gt;
&lt;br /&gt;
(5) You would require a printer and a phrase processor with Postscript interfaces. This form of actual international expertise is likewise an critical issue in disambiguating the pronoun it in examples which include the following.&lt;br /&gt;
&lt;br /&gt;
(6) Put the paper with inside the printer. Then transfer it on. In order to training session that it's miles the printer this is to be switched on, instead of the paper, one desires to apply the expertise of the arena that printers (and now no longer paper) are the type of issue one is probable to replace on. There are different instances in which actual international expertise, aleven though necessary, does now no longer appear to be sufficient. The following, in which humans are re-assembling a printer, appears to be such an example:&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
Lexical and Structural Mismatches:&lt;br /&gt;
At the begin of the preceding phase we stated that, with inside the first-class of all feasible worlds for NLP, each phrase might have precisely one sense. While that is real for maximum NLP, it's miles an exaggeration as regards MT. It might be a higher world, however now no longer the first-class of all feasible worlds, due to the fact we'd nonetheless be confronted with tough translation troubles. Some of these troubles are to do with lexical variations among languages — variations with inside the ways wherein languages appear to categorize the world, what standards they select to explicit by unmarried phrases, and which they select now no longer to lexicalize. We will examine a number of these directly. Other troubles stand up due to the fact extraordinary languages use extraordinary systems for the identical purpose, and the identical shape for extraordinary purposes. In both case, the end result is that we need to complicate the interpretation process. In this phase we can examine some consultant examples. Examples just like the ones in (7) under are acquainted to translators, however the examples of colors (7c), and the Japanese examples in (7d) are in particular striking. The latter due to the fact they display how languages want vary now no longer best with admire to the fineness or ‘granularity’ of the differences they make, however additionally with admire to the idea for the distinction: English chooses extraordinary verbs for the action/occasion of placing on, and the action/nation of wearing. Japanese does now no longer make this distinction, however differentiates in line with the item that is worn. In the case of English to Japanese, a reasonably easy check at the semantics of the NPs that accompany a verb can be enough to determine at the proper translation. Some of the color examples are similar, however extra generally, research of color vocabulary shows that languages really carve up the spectrum in alternatively extraordinary ways, and that selecting the first-class translation might also additionally require know-how that is going nicely past what's in the text, and might also be undecidable. In this sense, the interpretation of color terminology starts offevolved to resemble the interpretation of phrases for cultural artifacts (e.g. phrases like English cottage, Russian dacha, French chateau ˆ , etc. for which no good enough translation exists, and for which the human translator need to determine among instantly borrowing, supplying an explanation). In this area, translation is a actually innovative act1 , which is properly past the ability of modern computers.&lt;br /&gt;
&lt;br /&gt;
(7) a. know (V) savoir (a fact) connaˆıtre (a thing) b. leg (N) patte (of an animal) jambe (of a human) pied (of a table) c. brown (A) brun chatain ˆ (of hair) marron (of shoes/leather) d. wear/positioned on (V) kiku haku (shoes) kakeru (glasses) kaburu (hats) hameru (gloves, etc. i.e. on hands) haoru (coat) shimeru (scarves, etc. i.e. spherical the neck) Calling instances along with the ones above lexical mismatches isn't always controversial. However, when one turns to instances of structural mismatch, type isn't always so easy. This is because one might also additionally frequently assume that the cause one language makes use of one production, wherein some other makes use of some other is due to the inventory of lexical objects the 2 languages have. Thus, the difference is to a point a be counted of flavor and convenience. A especially apparent instance of this includes issues bobbing up from what are sometimes known as lexical holes — that is, instances wherein one language has to apply a word to express what some other language expresses in a unmarried word. Examples of this consist of the ‘hole’ that exists in English with recognize to French ignorer (‘to now no longer know’, ‘to be ignorant of’), and se suicider (‘to suicide’, i.e. ‘to devote suicide’, ‘to kill oneself’). The issues raised through such lexical holes have a sure similarity to the ones raised through idioms: in each instances, one has terms translating as unmarried words. We will consequently put off dialogue of these till Section 6.4. One type of structural mismatch takes place wherein languages use the identical production for one of a kind functions, or use one of a kind structures for what seems to be the identical purpose. Cases wherein the identical shape is used for one of a kind functions consist of using passive structures in English, and Japanese. In the instance below, the Japanese particle wa, which we've got glossed as ‘TOP’ right here marks the ‘topic’ of the sentence — intuitively, what the sentence is about.&lt;br /&gt;
&lt;br /&gt;
(8) a. Satoo-san wa shyushoo ni erabaremashita.Satoo-hon TOP Prime Minister in changed into-elected.&lt;br /&gt;
b. Mr. Satoh changed into elected Prime Minister. &lt;br /&gt;
Example (8) shows that Japanese has a passive-like production, i.e. a production wherein the PATIENT, that's commonly found out as an OBJECT, is found out as SUBJECT. It isn't the same as the English passive withinside the feel that during Japanese this production tends to have an additional adversive nuance which may make (8a) instead odd, because it shows an interpretation wherein Mr Satoh did now no longer need to be elected, or wherein election is somehow terrible for him. This isn't recommended via way of means of the English translation, of course. The translation trouble from Japanese to English is one of these that appears unsolvable for MT, though one may attempt to carry the supposed feel via way of means of including an adverb which include unfortunately. The translation trouble from English to Japanese is however with inside the scope of MT, in view that one should simply pick any other form. This is possible, in view that Japanese allows SUBJECTs to be neglected freely, to be able to say the equal of elected Mr Satoh, and therefore keep away from having to say an AGENT 2 . However, in general, the end result of that is that one can not have easy regulations like the ones defined in Chapter four for passives. In fact, unless one makes use of a completely summary shape indeed, the regulations could be instead complicated. We can see distinctive buildings used for the identical impact in instances just like the following:&lt;br /&gt;
&lt;br /&gt;
(9) a. He is referred to as Sam. b. Er heißt Sam. ‘He is-named Sam’ c. Il s’appelle Sam. ‘He calls himself Sam’ &lt;br /&gt;
&lt;br /&gt;
(10) a. Sam has simply visible Kim. &lt;br /&gt;
b. Sam vient de voir Kim.&lt;br /&gt;
‘Sam comes of see Kim’ &lt;br /&gt;
(11) a. Sam loves to swim.&lt;br /&gt;
b. Sam zwemt graag. &lt;br /&gt;
‘Sam swims likingly’ &lt;br /&gt;
The first instance indicates how English, German and French pick distinctive strategies for expressing ‘naming’. The different examples display one language the usage of an adverbial AD- JUNCT (simply, or graag(Dutch) ‘likingly’ or ‘with pleasure’), wherein any other makes use of a verbal production. This is truly one of the maximum mentioned issues in contemporary MT, and it's far really well worth analyzing why it's far problematic.These representations are quite summary (e.g. the data approximately aggravating and aspect conveyed via way of means of the auxiliary verb have has been expressed in a feature), however they may be still instead different. In particular, be aware that even as the principle verb of (10a) is see, the principle verb of (10b) is venir-de. Now be aware what's worried in writing guidelines which relate these structures (we are able to study the course English French).&lt;br /&gt;
1. The adverb simply need to be translated because the verb venir-de (possibly this isn't always the best manner to consider it — the factor is that the French shape need to include venir-de, and simply need to now no longer be translated in another manner).&lt;br /&gt;
2. Sam, the SUBJECT of see, need to turn out to be the SUBJECT of venir-de. &lt;br /&gt;
3. Some facts approximately tense, etc. need to be taken from the S node of which see is the HEAD, and placed on the S node of which venir-de is the HEAD. This is a complication, due to the fact usually one might assume such facts to move on the node of which the interpretation of see, voir, is the HEAD. &lt;br /&gt;
4. Other elements of the English sentence must pass into the corresponding elements of the sentence HEADed through voir. This is straightforward sufficient here, due to the fact in each instances Kim is an OBJECT, however it isn't always constantly the case that OBJECTs translate as OBJECTs, of course.   &lt;br /&gt;
5. The hyperlink among the SUBJECT of venir-de and the SUBJECT of voir need to be established — however this could possibly be left to French synthesis.&lt;br /&gt;
&lt;br /&gt;
(12) a. She bumped into the room.&lt;br /&gt;
b. Elle entra dans l. a. salle en courant. ‘She entered into the room in/whilst running’ &lt;br /&gt;
The syntactic systems of those examples are very exclusive, and it's miles tough to look how one can obviously lessen them to comparable systems with out the usage of very summary representations indeed. A barely exclusive form of structural mismatch happens in which languages have ‘the equal’ construction (extra precisely, comparable structures, with equal interpretations), however in which exclusive regulations at the structures imply that it isn't always constantly viable to translate withinside the maximum apparent manner. The following is a extraordinarily easy instance of this. &lt;br /&gt;
&lt;br /&gt;
(13) a. These are the letters which I even have already responded to.  &lt;br /&gt;
b. *Ce sont les lettres lesquelles j’ai dej´ a` repondu ´ a.`&lt;br /&gt;
c. These are the letters to which I even have already responded.&lt;br /&gt;
d. Ce sont les lettres auxquelles j’ai dej´ a` repondu. &lt;br /&gt;
´ What this indicates is that English and French range in that English lets in prepositions to be ‘stranded’ (i.e. to seem with out their objects, like in 13a). French commonly requires the preposition and its item to seem together, as in (13d) — of course, English allows this too. This will make translating (13a) into French hard for lots kinds of system (in particular, for structures that try and manipulate with out pretty summary syntactic representations). However, the overall answer is reasonably clear — what one needs is to construct a shape in which (13a) is represented withinside the equal manner as (13c), because this could dispose of the translation problem. The maximum apparent illustration could possibly be some thing alongside the lines of (14a), or perhaps (14b).&lt;br /&gt;
&lt;br /&gt;
(14) a. These are the letters I actually have already replied ! to which &amp;quot;#&amp;quot; &lt;br /&gt;
b. These are the letters I actually have already replied ! to the letters &amp;quot;#&amp;quot; &lt;br /&gt;
While in no way a whole approach to the remedy of relative clause structures, such an technique likely overcomes this specific translation trouble. There are different instances which pose worse problems, however. In general, relative clause structures in English encompass a head noun (letters in the preceding example), a relative pronoun (which includes which), and a sentence with a ‘gap’ in it. The relative pronoun (and therefore the top noun) is known as though it crammed the gap — this is the concept in the back of the representations in (14). In English, there are regulations on where the ‘gap’ can arise. In specific, it can not arise inner an oblique question, or a ‘reason’ ADJUNCT. Thus, (15b), and (15d) are each ungrammatical. However, those regulations aren't precisely paralleled in different languages. For example, Italian lets in the former, as in (15a), and Japanese the latter, as in (15c). These styles of trouble are past the scope of contemporary MT systems — in fact, they're tough even for human translators.&lt;br /&gt;
&lt;br /&gt;
(15) a. Sinda node minna ga kanasinda hito wa yumei desita. ‘died as a result anyone SUBJ distressed-turned into guy TOP well-known turned into’&lt;br /&gt;
b. *The guy who anyone turned into distressed because (he) died turned into well-known. &lt;br /&gt;
c. L’uomo che mi domando chi abbia visto fu arrestato. &lt;br /&gt;
d. *The guy that I surprise who (he) has visible turned into arrested.&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
Multiword units:  Idioms and Collocations &lt;br /&gt;
&lt;br /&gt;
Roughly speaking, idioms are expressions whose that means can not be absolutely under- stood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact kick the bucket is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in an MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example take the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical that means. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correction:Roughly speaking, idioms are expressions whose meanings can not be absolutely understood from the meanings of the element parts. For example, while it's far viable to workout the that means of (16a) on the premise of expertise of English grammar and the that means of words, this will now no longer be enough to workout that (16b) can imply something like ‘If Sam dies, her youngsters can be rich’. This is due to the fact that ''kick the bucket'' is an idiom. &lt;br /&gt;
&lt;br /&gt;
(16) a. If Sam mends the bucket, her youngsters can be rich.           &lt;br /&gt;
b. If Sam kicks the bucket, her youngsters can be rich. &lt;br /&gt;
The trouble with idioms, in the MT context, is that it isn't commonly viable to translate them the usage of the everyday guidelines. There are exceptions, as an example taking the bull through the horns (that means ‘face and address a problem with out shirking’) may be translated actually into French as prendre le taureau par les cornes, which has the identical meaning. But, for the maximum part, using everyday guidelines with a view to translate idioms will bring about nonsense. Instead, one has to deal with idioms as unmarried gadgets in translation. In many cases, a herbal translation for an idiom can be a unmarried phrase — as an example, the French phrase mourir (‘die’) is a probable.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:03, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
This bankruptcy seems at a few troubles which face the builder of MT systems. We charac- terized them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy we mentioned times of lexical and structural mismatches and the trouble of non-compositionality (as exempli- fied via way of means of idioms and collocations) and checked out a few techniques for handling them in MT systems.&lt;br /&gt;
&lt;br /&gt;
Correction: This bankruptcy seems at a few troubles which face the builder of MT systems. We characterize them as troubles of ambiguity (lexical and syntactic) and troubles of lexical and structural mismatches. We noticed how one of a kind styles of linguistic and non-linguistic knowl- part are essential to remedy troubles of ambiguity, and withinside the subsequent bankruptcy we examine in greater element a way to constitute this knowledge. In this bankruptcy, we mentions times of lexical and structural mismatches and the trouble of non-compositionality (as exemplified via way of means of idioms and collocations) and check out a few techniques for handling them in MT systems.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 06:59, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),&lt;br /&gt;
and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).&lt;br /&gt;
&lt;br /&gt;
Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).&lt;br /&gt;
On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.&lt;br /&gt;
(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇ&lt;br /&gt;
see for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).&lt;br /&gt;
A classic discussion of translation problems is Vinay and Darbelnet (1977). This is&lt;br /&gt;
concerned with translation problems as faced by humans, rather than machines, but it&lt;br /&gt;
points out several of the problems mentioned here.&lt;br /&gt;
The discussion in this chapter touches on two issues of general linguistic and philosophical&lt;br /&gt;
interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other&lt;br /&gt;
languages. As regards the first question, it seems as though there are some limits. For&lt;br /&gt;
example, though languages carve the colour spectrum up rather differently, so there can&lt;br /&gt;
be rather large differences between colour words in terms of their extensions, there seems&lt;br /&gt;
to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay&lt;br /&gt;
(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Correcrion:&lt;br /&gt;
The problem of ambiguity is pervasive in NLP, and is discussed extensively in the introductions to the subject such as those mentioned in the Further Reading section of Chapter 3.Examples of lexical and structural mismatches are discussed in (Hutchins and Somers,1992, Chapter 6). Problems of the venir-de/have just sort are discussed extensively in the MT literature. A detailed discussion of the problem can be found in Arnold et al. (1988),and in Sadler (1993). On light verbs or support verbs, see Danlos and Samvelian (1992);Danlos (1992).Treatments of idioms in MT are given in Arnold and Sadler (1989), and Schenk (1986).On collocations, see for example Allerton (1984), Benson et al. (1986a), Benson et al.(1986b) and Hanks and Church (1989). The notion of lexical functions is due to Mel’cuk, ˇsee for example Mel’cuk ˇ and Polguere (1987); Mel’cuk ˇ and Zholkovsky (1988).A classic discussion of translation problems is Vinay and Darbelnet (1977). This isconcerned with translation problems as faced by humans, rather than machines, but it points out several of the problems mentioned here.The discussion in this chapter touches on two issues of general linguistic and philosophical interest: to what extent human languages really do carve the world up differently, and&lt;br /&gt;
whether there are some sentences in some languages which cannot be translated into other languages. As regards the first question, it seems as though there are some limits. For example, though languages carve the colour spectrum up rather differently, so there can be rather large differences between colour words in terms of their extensions, there seems to be a high level of agreement about ‘best instances’. That is, though the extension of&lt;br /&gt;
English red, and Japanese akai is different, nevertheless, the colour which is regarded as the best instance of red by English speakers is the colour which is regarded as the best instance of akai by Japanese speakers. The seminal work on this topic is Berlin and Kay(1969), and see the title essay of Pullum (1991). The second question is sometimes referred to as the question of effability, see Katz (1978); Keenan (1978) for relevantdiscussion.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 07:06, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
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'''浅析目的论视角下《哪吒之魔童降世》字幕翻译策略'''&lt;br /&gt;
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[[Trans_Type_EN_15]]&lt;br /&gt;
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刘胜楠 Liu Shengnan, Hunan  Normal University,China&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translations&amp;diff=133072</id>
		<title>History of Translations</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translations&amp;diff=133072"/>
		<updated>2021-12-14T13:26:37Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Chapter 3 The Translation of Buddihist Sutra in Chinese Translation History */&lt;/p&gt;
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[[History_of_Translations|Overview Page of History of Translation]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Hist_Trans_EN_1]] [[Hist_Trans_EN_2]] [[Hist_Trans_EN_3]] [[Hist_Trans_EN_4]] [[Hist_Trans_EN_5]] [[Hist_Trans_EN_6]] [[Hist_Trans_EN_7]] [[Hist_Trans_EN_8]] [[Hist_Trans_EN_9]] [[Hist_Trans_EN_10]] [[Hist_Trans_EN_11]] [[Hist_Trans_EN_12]] [[Hist_Trans_EN_13]] [[Hist_Trans_EN_14]] [[Hist_Trans_EN_15]] [[Hist_Trans_EN_16]] [[Hist_Trans_EN_17]] [[Hist_Trans_EN_18]] [[Hist_Trans_EN_19]] [[Hist_Trans_EN_20]] [[Hist_Trans_EN_21]] [[Hist_Trans_EN_22]] [[Hist_Trans_EN_23]] [[Hist_Trans_EN_24]] [[Hist_Trans_EN_25]] [[Hist_Trans_EN_26]] [[Hist_Trans_EN_27]] [[Hist_Trans_EN_28]] [[Hist_Trans_EN_29]] [[Hist_Trans_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]] [[DCG-To-Do|Zur To-Do-Liste]]&lt;br /&gt;
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=Rouabah Soumaya: History of translation in the Middle Ages=&lt;br /&gt;
[[Hist_Trans_EN_1]]&lt;br /&gt;
== Abstract==&lt;br /&gt;
The history of translation is seen variously as examining the role of translation in historical episodes through decades or investigating the phenomenon or understanding of translation itself historically. These different historiographical perspectives involve potentially different research aims, approaches, concepts, methods and scholarly interlocutors. The paper focuses on this question of disciplinary commensurability in historical studies, and draws parallels between the history of translation   and translation in the middle ages. Themes addressed include the bible translation as   , established historiographical norms and alternative, interdisciplinary approaches. It is argued that both the history of translation started with the translation of the Bible in the early BC comes, towards a reflexive, transnational history that seeks productive modes of engagement with other historical disciplines. By bringing to the attention of translation scholars some of the key debates in the history of translation and by identifying commonalities, this paper hopes to present an overall view of translation in the middle ages with slight knowledge of Bible translation in the early centuries of the middle ages, which starts from th5 to the 15 century.&lt;br /&gt;
&lt;br /&gt;
== Keywords==&lt;br /&gt;
History of Translation , Bible Translation, Translation in the Middle Ages&lt;br /&gt;
medieval translation, medieval translator, translation and culture&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
This paper aims at a general review of the history of translation studies and the prevalent approaches from antiquity to the present in the west, in the form of a historical survey in which key theoretical developments are taken into account, focusing on approaches that have been developed during the twentieth century. Without a doubt, It is James Holme's seminal paper &amp;quot;the name and nature of translation studies&amp;quot; that draws up a disciplinary map for translation studies and serves as a springboard for researchers with its binary division of Translation Studies into two branches: &amp;quot;pure&amp;quot; and &amp;quot;applied.&amp;quot; Its growth as a discipline goes back to the 1980s. As time elapses, translation studies, by achieving a certain institutional authority and coalescing with many a resurging disciplines and trends as cultural studies, linguistics, literary theory and criticism, brings a renewed aspect to translation theory. &lt;br /&gt;
&lt;br /&gt;
In addition, this paper argues that English medieval translation can be considered as part of a cultural project in that the medieval translator is concerned more with the role and the function of translation in the target culture. Medieval translation theory derives from the classical theories of translation, however, prefaces to translations indicate that medieval translator appropriates the classical translation theory and uses it to serve the cultural and ideological objectives of translation in the middle Ages. &lt;br /&gt;
&lt;br /&gt;
Key words: medieval translation, medieval translator, translation and culture, translation theory. &lt;br /&gt;
The pioneering work of Jeannette Beer and Roger Ellis has decidedly promoted medieval translation as a significant area, and has established medieval translation as the work of culturally responsible, academically oriented people of learning.&lt;br /&gt;
&lt;br /&gt;
1 Susan &lt;br /&gt;
* Assist. Prof. Dr., Hacettepe University, Department of English Language and Literature &lt;br /&gt;
1 The problematic situation of Medieval translation in the academia is discussed by Ruth Evans in &amp;quot;Translating &lt;br /&gt;
Past Cultures?&amp;quot; in The Medieval Translator /Vied. Roger Ellis and Ruth Evans, the University of Exeter Press, &lt;br /&gt;
Medieval Translation and Cultural Transformation&lt;br /&gt;
&lt;br /&gt;
== Early History of Translation==&lt;br /&gt;
The word ‘translation’ comes from a Latin term which means, “To bring or carry across”. Another relevant term comes from the Ancient Greek word of ‘metaphrasis’ which means, “To speak across” and from this, the term ‘metaphrase’ was born, which means a “word-for-word translation”. These terms have been at the heart of theories relating to translation throughout history and have given insight into when and where translation have been used throughout the ages.&lt;br /&gt;
&lt;br /&gt;
It is known that translation was carried out as early as the Mesopotamian era when the Sumerian poem, Gilgamesh, was translated into Asian languages. This dates back to around the second millennium BC. Other ancient translated works include those carried out by Buddhist monks who translated Indian documents into Chinese. In later periods, Ancient Greek texts were also translated by Roman poets and were adapted to create developed literary works for entertainment. It is known that translation services were utilised in Rome by Cicero and Horace and that these uses were continued through to the 17th century, where newer practices were developed.&lt;br /&gt;
&lt;br /&gt;
The history of translation has been a topic that has long been debated by scholars and historians, though it is widely accepted that translation pre-dates the bible. The bible tells of different languages as well as giving insight to the interaction of speakers from different areas. The need for translation has been apparent since the earliest days of human interaction, whether it be for emotional, trade or survival purposes. &lt;br /&gt;
&lt;br /&gt;
The demand for translation services has continued to develop and is now more vital than ever, with businesses acknowledging the inability to expand internationally or succeed in penetrating foreign markets without translating marketing material and business documents.&lt;br /&gt;
&lt;br /&gt;
It is significant to review the history of translation in different languages. There are divisions of period made by scholars like George Steiner. According to Steiner, the history of translation is divided into four periods. Starting from the Roman translators Cicero and Horace to Alexander Fraser Tytler is the first period; the second period extends up to Valery and from Valery to 1960s becomes the third period and the fourth period 1960s onwards. The history of translation is stressed out from 3000 B.C. Rosetta Stone is considered the most ancient work of Translation belonged to the second century B.C. Livius Andronicus translated Homer’s Odyssey named Odusia into Latin in 240 B.C. All that survives is parts of 46 scattered lines from 17 books of the Greek 24-book epic. In some lines, he translates literally, though in others more freely. His translation of the Odyssey had a great historical importance. Before then, the Mesopotamians and Egyptians had translated judicial and religious texts, but no one had yet translated a literary work written in a foreign language until the Roman Empire. Livius’ translation made this fundamental Greek text accessible to Romans, and advanced literary culture in Latin. This project was one of the best examples of translation as artistic process. The work was to be enjoyed on its own, and Livius strove to preserve the artistic quality of original. Since there was no tradition of epic in Italy before him, Livius must have faced enormous problems. For example, he used archaizing forms to make his language more solemn and intense.     Barnstone Willis. The Poetics of Translation: History, Theory and Practice. London: Yale University Press, 1993. Print. Bassnett, Susan and Lefevere, Andre (Eds.). Translation, History and Culture. London: Pinter, 1990. Print.&lt;br /&gt;
&lt;br /&gt;
When we talk about the history of translation, we should think of the theories and names   that e merged at its different periods. In fact, each era is  characterized by specific changes in translation history, but these changes differ from one place to another. For example, the developments of translation in the western world are not the same as those in the Arab world, as each nation knew particular incidents that led to the birth of particular theories. So, what marked the western translation?  .By Marouane Zakhir English translator University of Soultan Moulay Slimane, Morocco&lt;br /&gt;
&lt;br /&gt;
== Translation in the Western World==&lt;br /&gt;
For centuries, people believed in the relation between translation and the story of the tower of Babel in the Book of Genesis. According to the Bible, the descendants of Noah decided, after the great flood, to settle down in a plain in the land of Shinar. There, they committed a great sin. Instead of setting up a society that fits God's will, they decided to challenge His authority and build a tower that could reach Heaven. However, this plan was not completed, as God, recognizing their wish, regained control over them through a linguistic stratagem. He caused them to speak different languages so as not to understand each other. Then, he scattered them all over the earth. After that incident, the number of languages increased through diversion, and people started to look for ways to communicate, hence the birth of translation (Abdessalam  Benabdelali, 2006) (1). &lt;br /&gt;
&lt;br /&gt;
Actually, with the birth of translation studies and the increase of research in the domain, people started to get away from this story of Babel, and they began to look for specific dates and figures that mark the periods of translation history. &lt;br /&gt;
&lt;br /&gt;
Researchers mention that writings on translation go back to the Romans. Eric Jacobson claims that translating is a Roman invention (see McGuire: 1980) (2). Cicero and Horace (first century BC) were the first theorists who distinguished between word-for-word translation and sense-for-sense translation. Their comments on translation practice influenced the following generations of translation up to the   twentieth century. &lt;br /&gt;
&lt;br /&gt;
Another period that knew a changing step in translation development was marked by St Jerome (fourth century CE). &amp;quot;His approach to translating the Greek Septuagint Bible into Latin would affect later translations of the scriptures.&amp;quot; (Munday, 2001) (3) &lt;br /&gt;
&lt;br /&gt;
The first important translation in the West was that of the Septuagint, a collection of  Jewish Scriptures translated into early Koine  Greek in Alexandria between the  3rd and &amp;quot;1st centuries  B C E The dispersed  Jews had  forgotten their ancestral language and Throughout the .middle Ages, /Latin was the lingua franca  of  the western learned world.    -Wikipedia .org/wiki/&lt;br /&gt;
&lt;br /&gt;
The 9th1century Alfred the Great, king of  Wessex in England, was far ahead of his time in commissioning 'vernacular Anglo -Saxon translations of Bede’s Ecclesiastical History   and Boethius « Consolation of Philosophy ) meanwhile, the Christian church frowned on even partial adaptations of St . Jerome ‘s Vulgate  of CA 384 CE, the Latin Bible .   -Wikipedia .org/wiki/&lt;br /&gt;
&lt;br /&gt;
The broad historic trends in Western translation practice may  be illustrated on the example of translation into the English language .&lt;br /&gt;
&lt;br /&gt;
The first fine translations into English were made in the &amp;quot;the century by Geoffrey  Chaucer, who adapted from the Italian of Giovanni Boccaccio in his own  Knight's Tal e   and Troilus and Criseyde ;  began a translation of the French -language  Roman de la Rose 7 and completed a translation of Boethius from the Latin .   Chaucer bounded an English poetic tradition on adaptations  and translations   from those earlier established literary languages .  -Wikipedia .org/wiki/&lt;br /&gt;
&lt;br /&gt;
The first great English translation was the Wycliffe   (CA 1382), which showed the weaknesses of an under developed English prose  . only at the end of the &amp;quot;15th century did the great age to English prose translation begin with  Thomas Malory ‘s &amp;quot;le Morte D arthur”-  Ban adaptation of  Arthurian romances so free that it can, in fact, hardly be called a true translation . The first great  Tudor translations are, accordingly, the Tyndale  new  Testament   ( 1525), which influenced the  Authorized Version  (1611), and Lord Berners version of jean Froissart’s Chronicles ( 1523- 25) .   - Wikipedia .org/wiki/&lt;br /&gt;
&lt;br /&gt;
== History of Translation in the Middle Ages==&lt;br /&gt;
In the history of Europe, the middle Ages or medieval period lasted approximately from the Fifth to the late 15th centuries, similarly to the Post-classical period of global history. It began with the fall of the Western Roman Empire and transitioned into the Renaissance and the Age of Discovery. The middle Ages is the middle period of the three traditional divisions of Western history: classical antiquity, the medieval period, and the modern period. The medieval period is itself subdivided into the Early, High, and Late Middle Ages.&lt;br /&gt;
&lt;br /&gt;
This article is about medieval Europe. For a global history of the period between the 5th and 15th centuries, see Post-classical history. For other uses, see middle Ages (disambiguation).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Medieval times&amp;quot; redirects here. For the dinner theatre, see Medieval Times.&lt;br /&gt;
&lt;br /&gt;
Latin was the lingua franca of the Western learned world throughout the middle Ages, with few translations of Latin works into vernacular languages. In the 9th century, Alfred the Great, King of Wessex in England, was far ahead of his time in commissioning vernacular translations from Latin into English of Bede’s “Ecclesiastical History”and Boethius's “The Consolation of Philosophy”, which contributed to improve the underdeveloped English prose of that time. &lt;br /&gt;
&lt;br /&gt;
It is argued that the knowledge and findings of Greek academics was developed and understood so widely thanks to the translation work of Arabic scholars. When the Greeks were conquered, Arabic scholars, who translated them and created their own versions of the scientific, entertainment and philosophical understandings took in their works. These Arabic versions were later translated into Latin, during the middle Ages, mostly throughout Spain and the resulting works provided the foundations of Renaissance academics.&lt;br /&gt;
&lt;br /&gt;
Medieval times in human history – also referred to as the “Middles Ages” – was the time period that fell roughly between the fall of the Roman Empire in 476 CE and the 14th century. However, these years bear another moniker as well: the Dark Ages. There are valid reasons for that term. In the eyes of many historians, people during this age made little to no significant advancements that benefitted humankind. In addition, most notably, this was the period when the “Black Death” (the bubonic plague) killed an estimated 30 percent of the population of Europe.&lt;br /&gt;
&lt;br /&gt;
However, the middle Ages were not completely “dark.” In fact, modern historians are taking a second look at this period with a more objective – and perhaps more generous – perspective. There is no doubt, for example, that religion flourished during this time. The Catholic Church came to prominence throughout Europe, and the rise of Islam was occurring simultaneously in the Middle East. It was there – particularly in urban centres such a Baghdad, Damascus and Cairo – that an extremely vibrant culture and intellectual society thrived.&lt;br /&gt;
&lt;br /&gt;
The art of translation also made great strides during the middle Ages. Thanks to Alfred the Great (the king of England during the 9th century), The Consolation of Philosophy by Boethius and Ecclesiastical History by Bede were translated from Latin to English – a major feat that would have a great impact on the overall advancement of English prose during this period. Later, during the 12th and 13th centuries, the Toledo School of Translators (“Escuela de Traductores de Toledo”) worked on a wide variety of translations, including religious, scientific, philosophical and medical works. The original texts were created in Arabic, Hebrew and Greek, and all were translated into Castilian – and that formed the basis for the formation of the Spanish language. Also during the 13th century, English linguist Roger Bacon postulated the concept that a translator not only needed to be fully fluent in both the source and target languages of the work being translated, but also that a translator should be fully versed in the topic of the work to be translated – a tenet that still holds true in the language arts to this day.&lt;br /&gt;
&lt;br /&gt;
One of the most notable translators during the middle Ages was also one of the most accomplished authors and poets – Geoffrey Chaucer. In fact, those historians who still maintain that the Dark Ages produced little to no significant contributions to humankind might do well to remember the works of Chaucer. In a lifetime that spanned some 60 years (from the 1340s until 1400), Chaucer earned the reputation as the “father of English literature.” However, that description only scratched the surface of Chaucer’s accomplishments. He was also a noted astronomer and philosopher, as well as a diplomat, bureaucrat and parliament member. Chaucer’s contributions to the language arts were no less significant; his use of Middle English (as opposed to Latin or French, which were the two most commonly used languages of the day) quite literally brought English into mainstream usage, as did his translations of numerous works from Italian, French and Latin into English.&lt;br /&gt;
&lt;br /&gt;
It can truly be said that historians have given medieval times somewhat of a bad rap over the centuries. And while there’s no doubt that the accomplishments of linguists and others  during the Middle Ages can’t come close to comparing with those of the Renaissance or later time periods, the contributions made during the “Dark Ages” should not be overlooked. In fact, from a linguistic point of view, this was an extremely crucial time. Not only were the basic principles of translation developed during the middle Ages, but also English itself began to take shape as a language of import for future years.&lt;br /&gt;
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Studies on the theory and practice of medieval translation reveal therefore that the translation principles and the issues of translation theory in the Middle Ages derive from a long established tradition of translation theory developed by the classical authors. In practice, Roger Ellis states, medieval translation is heterogeneous; &amp;quot;every instance of practice that we may be tempted to erect into a principle has its answering opposite, sometimes in the same work (quoted in Evans, 1994: 27). Evidently, not only the critical approaches to translation in the Middle Ages but also theory and practice of translation of the period vary considerably. However, it seems that medieval translation utilises the translation and writing theories inherited from the classical authors to adopt a translational approach that recognises translation's vital role in the cultural transformation of the middle Ages.  Page 96 &lt;br /&gt;
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This paper argues therefore that the medieval interest in translation can be considered as a cultural and political interest since the   1994. pp. 20-45. See Jeanette Beer, Medieval Translators and Their Craft.1989 and Roger Ellis (ed) assisted by Jocelyn Price, Stephen Medcalf and Peter Meredith. The Medieval Translator: The Theory and Practice of Translation in the Middle Ages: Papers Read at a Conference Held 20-23 August 1987 at the University of Wales Conference Centre, Gregynog //a//.Woodbridge, Suffolk: D.S. Brewer, 1989. &lt;br /&gt;
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Rita Copeland, Rhetoric, Hermeneutics, and Translation in the Middle Ages: Academic Traditions and &lt;br /&gt;
Vernacular Texts. Cambridge, 1991. See particularly A. J. Minnis and A. B. Scots (eds) Medieval Literary &lt;br /&gt;
Theory and Criticism c.l 100-1375 The Commentary Tradition. Oxford, 1988. &lt;br /&gt;
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Translations of the period are introduced as potential projects for cultural transformation. The formative role of translation in the middle Ages can be observed in medieval culture's awareness of the significance of cultural interaction. Medieval culture is a highly bookish culture, which contributed to the development of a vigorous translation activity in the Middle Ages. The recognition of the authority of the books seems to have led to the utilisation of the potential in translation for cultural education and transformation. As there was little or no difference between translation and original composition in the Middle Ages, translation was often considered in association with the pragmatic function of the book (Barratt, 1992:13-14). &lt;br /&gt;
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In Geoffrey Chaucer's The Prologue to the Legend of Good Women, the fictional dialogue   concerning the translations of the narrator provides an instructive interaction concerning translation activity as an integral part of cultural re-construction in the middle Ages.  &lt;br /&gt;
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The god of Love presents two works of Chaucer, the Troilus and Criseyde and the Romance of the Rose, as translations and questions the narrator's motives in choosing to translate works undermining the doctrine of Love (322-335). This fictional questioning introduces, in fact, the main attitude to translation in the middle Ages as it recognises the transformative role of translation on the target audience as an important issue the medieval translator recognises and aims at as the ultimate target of translation. Similarly, the narrator in Chaucer's Prologue to the Legend of Good Women argues that he wanted to teach the reader the true conduct in love through the experience of the lovers in the books he translated (471-474). &lt;br /&gt;
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The translator in this fictional debate introduces the main objective of translation as making the works of foreign languages available to the linguistically disadvantaged audience for their cultural improvement. This rather pragmatic translational paradigm, moreover, introduces another important issue of medieval translation addressed by theoretical tradition of translation in the middle Ages. In fact, the translator accused of mistranslation in Chaucer's Prologue to the Legend of Good Women is also a writer, his accuser does not make a distinction between his role as a translator and his role as a writer.3 many of the medieval translators were also writers, and translation and interpretation were considered as important strategies in medieval composition. Moreover, most of the medieval translation activity from Latin into the vernacular involved a transfer of the past works into the vernacular by re-writing. &lt;br /&gt;
As Douglas Kelly argues, &amp;quot;such re-writing is 'translation' as literary invention, using pre-&lt;br /&gt;
existent source material. It is a variety of translation study « (1997: 48). Medieval reception of the translation theory of the classical antiquity as a principle governing creative activity led to a special sense of translation, that is, translation as &amp;quot;an 3 See the Prologue to the Legend of Good Women, lines 322-35 and 362-370.  97 &lt;br /&gt;
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&amp;quot;.. And other bokes took me ...To reed upon &amp;quot;: Medieval Translation and Cultural Transformation 'unfaithful' yet artful interpretation or reinterpretation&amp;quot;(Kelly, 1997: 55), or &amp;quot;secondary translation&amp;quot; to put it in Copeland's words. &lt;br /&gt;
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Identifying the important status of translation in the Middle Ages as a branch of writing reveals that the Middle Ages was not totally oblivious to the legacy of rhetorical and hermeneutic traditions of the classical antiquity. More importantly, it testifies to the significant function translation is given in the cultural transformation. As stated above, a theoretical understanding of translation in the middle Ages was largely dependent on the classical ideas of translation. Rita Copeland argues for the necessity of recognising the medieval awareness of the classical tradition as the strong theoretical foundation of Medieval translation.&lt;br /&gt;
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==Translation in middle Ages (The Philological Perspective)== &lt;br /&gt;
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Middle Ages epoch roughly represents the time between late fifth century and the fifteenth century A.D.in Europe. Middle Ages, however, continue until the advent of European Colonialism (about eighteenth century) in the 'Oriental' and African countries. With the spread of Christianity, translation takes a new role of disseminating the word of God. How to translate the divine words faithfully was a serious issue because of dogmatic and political concerns. “St. Jerome claims that he follows sense for sense approach rather than word for word approach when translating the New Testament in AD 384.”18 Since the aim of the divine text is to provide understanding and guidance, it seems logical to follow sense for sense approach. Thence, there is a possibility of intentional or unintentional change of meaning and the context; for these reasons, some scholars emphasize on the word for word translation approach. The first translation of the complete Bible into English was the Wycliffe Bible is which was produced between 1380 and 1384; “Wycliffe believes man should have direct contact with God and thus the Bible should be translated into language that man can understand, i.e. in the vernacular. Purvey believes translator should translate “after sentence (meaning),” not only after words. Martin Luther says, “... the meaning and subject matter must be considered, not the grammar, for the grammar should not rule over the meaning;”19 Criticism on sense for sense was widespread because it minimized the power of the church authorities, “while literal translation was bound up with the Bible and other religious and philosophical works, says Jeremy Monday; non-literal or non-accepted translation came to be seen and used as a weapon against the Church.”20“In the Western Europe this word-for-word versus sense-for-sense debate continued in one form or another until the twentieth century. The centrality of Bible to translation also explains the enduring theoretical questions about accuracy and fidelity to fixed source.”21 In the eighth and ninth century A.D., a large number of translations from Greek into Arabic gave rise to Arabic learning. “Scholars from Syria, a part of the Roman Empire (during 64B.C.-636A.D) came to Baghdad and translated Greek works of Physician Hippocrates (460-360 B.C.), philosophers Plato (427-327 B.C.) and Aristotle (384-322 B.C.) into Arabic during the eighth and ninth century A.D. Baghdad continued to be a centre of translations of Greek classics into Arabic even in the twentieth century A.D.”22 The dominance of religion is prominent in the Translation Era of Middle Ages. In this era, both the trends of Antiquity period can be seen in action, yet emphasis is again on the sense for sense approach.&lt;br /&gt;
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==Translation  In the middle Ages between the 12th and the 15 centuries;==&lt;br /&gt;
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In the 12th and 13th centuries, the Toledo School of Translators (Escuela de Traductores de Toledo) became a meeting point for European scholars who — attracted by the high wages they were offered — came and settled down in Toledo, Spain, to translate major philosophical, religious, scientific and medical works from Arabic, Greek and Hebrew into Latin and Castilian. Toledo was a city of libraries offering a number of manuscripts, and one of the few places in medieval Europe where a Christian could be exposed to Arabic language and culture.&lt;br /&gt;
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The Toledo School of Translators went through two distinct periods. Archbishop Raymond de Toledo, who advocated the translation of philosophical and religious works, led the first period (in the 12th century) mainly from classical Arabic into Latin. These Latin translations helped advance European Scholasticism, and thus European science and culture. King Alfonso X of Castile himself led the second period (in the 13th century). On top of philosophical and religious works, the scholars also translated scientific and medical works. Castilian — instead of Latin — became the final language, thus resulting in establishing the foundations of the modern Spanish language.&lt;br /&gt;
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The translations of works on different  sciences (astronomy, astrology, algebra, medicine) acted as a magnet for numerous scholars, who came from all over Europe to Toledo to learn first-hand about the contents of all those Arab, Greek and Hebrew works, before going back home to disseminate the acquired knowledge in European universities. While some Toledo translations of physical and cosmological works were accepted in most European universities in the early 1200s, the works of Aristotle and Arab philosophers were often banned, for example at the Sorbonne University in Paris.&lt;br /&gt;
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Roger Bacon was a 13th-century English scholar heralded for his early exposition of a “universal grammar” (the concept that the ability to learn grammar is hard-wired into the brain). He was the first linguist to assess that a translator should know well both the source language and the target language to produce a good translation, and that the translator should be well versed in the discipline of the work he was translating. According to legend, after finding out that few translators did, Roger Bacon decided to do away with translation and translators altogether. However, his decision did not last long. He relied on many Toledo translations from Arabic into Latin to make major contributions in the fields of optics, astronomy, natural sciences, chemistry and mathematics.&lt;br /&gt;
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Geoffrey Chaucer produced the first fine translations into English in the 14th century. Chaucer translated the “Roman de la Rose” from French, and Boethius’s works from Latin. He also adapted some works of the Italian humanist Giovanni Boccaccio to produce his own “Knight’s Tale” and “Troilus and Criseyde” (c.1385) in English. Chaucer is regarded as the founder of an English poetic tradition based on translations and adaptations of literary works in languages that were more “established” than English was at the time, beginning with Latin and Italian. The finest religious translation of that time was the “Wycliffe’s Bible” (1382-84), named after John Wycliffe, an English theologian who translated the Bible from Latin to English.&lt;br /&gt;
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In the 15th century : Byzantine scholar Gemistus Pletho’s trip to Florence, Italy, pioneered the revival of Greek learning in Western Europe. Gemistus Pletho reintroduced Plato’s thought during the 1438-39 Council of Florence, in a failed attempt to reconcile the East-West schism (a 11th-century schism between the Eastern Orthodox and Catholic churches). During this Council, Pletho met Cosimo de Medici, the politician ruling Florence and a great patron of learning and the arts, and influenced him to found a Platonic Academy. Led by the Italian scholar and translator Marsilio Ficino, the Platonic Academy took over the translation into Latin of all Plato’s works, the “Enneads” of Plotinus and other Neo-Platonist works. Marsilio Ficino’s work — and Erasmus’ Latin edition of the New Testament — led to a new attitude to translation. For the first time, readers demanded rigor of rendering, as philosophical and religious beliefs depended on the exact words of Plato and Jesus (and Aristotle and others).&lt;br /&gt;
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The great age of English prose translation began in the late 15th century with Thomas Malory’s “Le Morte d’Arthur” (1485), a free translation/adaptation of Arthurian romances about the legendary King Arthur, as well as Guinevere, Lancelot, Merlin and the Knights of the Round Table. Thomas Malory “interpreted” existing French and English stories about these figures while adding original material, e.g. the “Gareth” story about one of the Knights of the Round Table.4&lt;br /&gt;
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== An Overview of Bible Translations in The  Middle Ages==&lt;br /&gt;
The most significant turn in the history of translation came with the Bible translations. The efforts of translating the Bible from its original languages into over 2,000 others have spanned more than two millennia. Partial translation of the Bible into languages of English people can be stressed back to the end of the seventh century, including translations into Old English and Middle English. Over 450 versions have been created overtime. &lt;br /&gt;
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Bible translations in the Middle Ages discussions are in contrast to Late Antiquity, when the Bibles available to most Christians were in the local vernacular. In a process seen in many other religions, as languages changed, and in Western Europe, languages with no tradition of being written down became dominant, the prevailing vernacular translations remained in place, despite gradually becoming sacred languages, incomprehensible to the majority of the population in many places. In Western Europe, the Latin Vulgate, itself originally a translation into the vernacular, was the standard text of the Bible, and full or partial translations into a vernacular language were uncommon until the Late Middle Ages and the Early Modern Period. A page from the luxury illuminated manuscript Wenceslas Bible, a German translation of the 1390s.[1] From Wikipedia, the free encyclopaedia&lt;br /&gt;
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During the Migration Period Christianity spread to various peoples who had not been part of the old Roman Empire, and whose languages had yet no written form, or only a very simple one, like runes. Typically, the Church itself was the first to attempt to capture these languages in written form, and Bible translations are often the oldest surviving texts in these newly written-down languages. Meanwhile, Latin was evolving into new distinct regional forms, the early versions of the Romance languages, for which new translations eventually became necessary. However, the Vulgate remained the authoritative text, used universally in the West for scholarship and the liturgy since the early development of the Romance languages had not come to full fruition, matching its continued use for other purposes such as religious literature and most secular books and documents. In the early middle Ages, anyone who could read at all could often read Latin, even in Anglo-Saxon England, where writing in the vernacular (Old English) was more common than elsewhere. A number of pre-reformation Old English Bible translations survive, as do many instances of glosses in the vernacular, especially in the Gospels and the Psalms.[4] Over time, biblical translations and adaptations were produced both within and outside the church, some as personal copies for religious or lay nobility, and others for liturgical or pedagogical purposes.[5][6] From Wikipedia, the free encyclopaedia&lt;br /&gt;
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The Bible was translated into various languages in late antiquity; the most important of these translations are those in the Syriac dialect of Aramaic (including the Peshitta and the Diatessaron gospel harmony), the Ge'ez language of Ethiopia, and, in Western Europe, Latin. The earliest Latin translations are collectively known as the Vetus Latina, but in the late fourth century, Jerome re-translated the Hebrew and Greek texts into the normal vernacular Latin of his day, in a version known as the Vulgate (Biblia vulgata) (meaning &amp;quot;common version&amp;quot;, in the sense of &amp;quot;popular&amp;quot;). Jerome's translation gradually replaced most of the older Latin texts, and gradually ceased to be a vernacular version as the Latin language developed and divided. The earliest surviving complete manuscript of the entire Latin Bible is the Codex Amiatinus, produced in eighth century England at the double monastery of Wearmouth-Jarrow. By the end of late, antiquity the Bible was therefore available and used in all the major written languages then spoken by Christians. From Wikipedia, the free encyclopaedia&lt;br /&gt;
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== Conclusion ==&lt;br /&gt;
The history of translation studies and the resurgence and genesis of the approaches to this emerging discipline was marked by the first century (BCE) commentator Cicero and then St. Jerome whose word-for-word and sense-for-sense approaches to translation was a springboard for other approaches and trends to thrive. From the medieval ages until now, each decade was marked by a dominant concept such as translatability, equivalence etc. Whilst before the twentieth century translation was an element of language learning, the study of the field developed into an academic discipline only in the second half of the twentieth century, when this field achieved a certain institutional authority and developed as a distinct discipline. As this discipline moved towards the present, the level of sophistication and inventiveness did in fact soared and new concepts, methods, and research projects were developed which interacted with this discipline. The brief review here, albeit incomplete, reflects the current fragmentation of the field into subspecialties, some empirically oriented, some hermeneutic and literary and some influenced by various forms of linguistics and cultural studies which have culminated in productive syntheses. In short, translation studies is now a field which brings together approaches from a wide language and cultural studies, that for its own use, modifies them and develops new models specific to its own requirements.   &lt;br /&gt;
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== References ==&lt;br /&gt;
-A page from the luxury illuminated manuscript Wenceslas Bible, a German translation of the 1390s.[1] From Wikipedia, the free encyclopaedia&lt;br /&gt;
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-Barnstone Willis. The Poetics of Translation: History, Theory and Practice. London: Yale University Press, 1993. Print. Bassnett, Susan and Lefevere, Andre (Eds.). Translation, History and Culture. London: Pinter, 1990. Print. 2- Barnstone Willis. The Poetics of Translation: History, Theory and Practice. London: Yale University Press, 1993. Print. Bassnett, Susan and Lefevere, Andre (Eds.). Translation, History and Culture. London: Pinter, 1990. Print.&lt;br /&gt;
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-Early history of translation .By Marouane Zakhir English translator University of Soultan Moulay Slimane, Morocco &lt;br /&gt;
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-From Wikipedia, the free encyclopaedia&lt;br /&gt;
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-https//www.tandfonline.com// 5- https//www.tandfonline.com//&lt;br /&gt;
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-Prologue to the Legend of Good Women, lines 322-35 and 362-370.  97 &amp;quot;.. And other bokes took me ...To reed upon &amp;quot;: Medieval Translation and Cultural Transformation 'unfaithful' yet artful interpretation or reinterpretation&amp;quot;(Kelly, 1997: 55), or  &amp;quot;secondary translation&amp;quot; to put it in Copeland's words. &lt;br /&gt;
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-Susan  * Assist. Prof. Dr., Hacettepe University, Department of English Language and Literature The problematic situation of Medieval translation in the academia is discussed by Ruth Evans in &amp;quot;Translating Past Cultures?&amp;quot; in The Medieval Translator /Vied. Roger Ellis and Ruth Evans, the University of Exeter Press, Medieval Translation and Cultural Transformation .&lt;br /&gt;
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-SSN 1799-2591 Theory and Practice in Language Studies, Vol. 2, No. 1, pp. 77-85, January 2012 © 2012 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.2.1.77-85.&lt;br /&gt;
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-This article is about medieval Europe. For a global history of the period between the 5th and 15th centuries, see Post-classical history. For other uses, see middle Ages (disambiguation). &amp;quot;Medieval times&amp;quot; redirects here. For the dinner theatre, see Medieval Times.&lt;br /&gt;
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-the   1994. pp. 20-45. See Jeanette Beer, Medieval Translators and Their Craft.1989 and Roger Ellis (ed) assisted by Jocelyn Price, Stephen Medcalf and Peter Meredith. The Medieval Translator: The Theory and Practice of Translation in the Middle Ages: Papers Read at a Conference Held 20-23 August 1987 at the University of Wales Conference Centre, Gregynog //a//.Woodbridge, Suffolk: D.S. Brewer, 1989. &lt;br /&gt;
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^ Rita Copeland, Rhetoric, Hermeneutics, and Translation in the Middle Ages: Academic Traditions and Vernacular Texts. Cambridge, 1991. See particularly A. J. Minnis and A. B. Scots (eds) Medieval Literary Theory and Criticism c.l 100-1375 The Commentary Tradition. Oxford, 1988.&lt;br /&gt;
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-Wikipedia .org/wiki/&lt;br /&gt;
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=Chapter 2 History of Modern and Contemporary Chinese Translation=&lt;br /&gt;
“中国现当代翻译史”&lt;br /&gt;
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[[Hist_Trans_EN_2]] &lt;br /&gt;
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Li Xichang, 李习长, Hunan Normal University, China&lt;br /&gt;
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=Chapter 3 The Translation of Buddihist Sutra in Chinese Translation History=&lt;br /&gt;
“佛经翻译”&lt;br /&gt;
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[[Hist_Trans_EN_3]] &lt;br /&gt;
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Huang Zhuliang 黄柱梁  Hunan Normal University, China&lt;br /&gt;
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=王镇隆 The Brief History of Bible's Chinese Translation=&lt;br /&gt;
== Abstract==&lt;br /&gt;
Bible is the only Christian classic. Many Bible translation versions in the territory of China, including the Chinese characters and the languages of ethnic minorities, are not only the important events and modern history publication with the largest circulation, translated versions of books in the modern translation history, but also the close relationship with the modern transformation of Chinese characters and the creation of minority languages. Three aspects of Bible translation history, information, research and outlook are described in this paper.&lt;br /&gt;
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== 摘要==&lt;br /&gt;
圣经是基督教的唯一经典，圣经翻译则是中国近代翻译史上的重要事件。当时的中国境内，出现了包括汉语汉字和少数民族语言文字的众多圣经译本，这不仅使圣经成为中国近代史上出版发行量最大、翻译版本最多的书籍，而且对中国的汉语汉字的近代转型和少数民族文字创制产生了重要影响。本文从 3 个方面对圣经中译的历史、资料、研究及展望进行了叙述。&lt;br /&gt;
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== Key Words==&lt;br /&gt;
History of the Bible translation；Research review;Academic outlook&lt;br /&gt;
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== 关键词==&lt;br /&gt;
圣经中译史；研究回顾；学术展望&lt;br /&gt;
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== The Overall Introduction of Bible Translation==&lt;br /&gt;
“Bible” translation has a pivotal position in the history of Western translation. From the beginning of the era to today, the translation of the “Bible” has never stopped. The range of languages involved, the number of translations, and the frequency of use of translations,etc., are unmatched by the translation of any other work. A birds-eye view of the history of “Bible” translation has the following important milestones: the first is the “Seventy Sons Greek Text” before the Era, the second is the “Popular Latin Text Bible” from the 4th to 5th centuries, and the later the national languages of the early Middle Ages. The ancient texts (such as Old German, Old French translations), modern texts since the 16th century Reformation Movement (such as the Lutheran version of Germany, the King James version, etc.) and various modern texts. All these translations have made indelible contributions to the spread and development of Christianity in the West, as well as the prosperity and development of the languages and cultures of various nations.&lt;br /&gt;
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The “Bible” is the holy book of Christianity, including the “Old Testament” and “New Testament.” The Old Testament was written in BC. It is a classic of Judaism. It was inherited by Christianity from Judaism. The original text was in Hebrew. The New Testament was written in the second half of the first to second centuries, and the original text is in Greek. Throughout human history, language translation is almost as old as the language itself. Therefore, from the beginning of the era to today, the translation of the “Bible” has never stopped. The range of languages involved, the number of translations, and the frequency of use of the translations, etc., are unmatched by the translation of any other work. The translation of the &amp;quot;Bible&amp;quot; is mainly to spread the doctrine, so that people are influenced and accepted by the views. According to the “New Testament Acts” Chapter Two, Section One: The saints gathered on Pentecost, and they were all filled with the Holy Spirit, and spoke the words of other countries according to the eloquence given by the Holy Spirit. However, the translation at that time was mainly “interprete” or “interpretation.” Among them, St. Paul himself is a multilingual believer. He preached in Jerusalem, Athens and Rome in Hebrew, Greek and Italian respectively. The Bible was first translated from Hebrew into Greek, then into Latin, and then into Romanian, Portuguese, Spanish, Italian, and Walloon (wal-lon), German, French, Romance languages. English was then translated into various languages in the world, and the translations of its various texts were repeatedly revised by experts in the translation of the classics, which lasted more than ten centuries. &lt;br /&gt;
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In the history of the translation of the Bible, it has gone through several milestone stages: the first is the “Seventy Sons Greek Text” before the era, the second is the “Popular Latin Text Bible” from the 4th to 5th centuries, and later it is the national languages of the early Middle Ages. Ancient texts (such as Old German, Old French translations), modern texts since the 16th century Reformation Movement (such as Luther, Casio Dorobin in Spain, King James Version in English, Nikon in Russia) and All kinds of modern texts (such as “American Standard Text” in English, “New English Bible” and “English Today”, etc.). “The Bible Old Testament” is the first important and earliest translation in ancient times in the West, and it was translated into Greek. The Old Testament was originally the official classic of Judaism, originally in Hebrew. The Jews have been scattered around for a long time and drifted overseas. Over time, they have forgotten the language of their ancestors and spoke foreign languages such as Arabic and Greek. Among them, Greek speakers accounted for the majority. In ancient times, the city of Alexandria in Egypt was the cultural and trade center of the eastern Mediterranean. The Jews living here accounted for two-fifths of the city’s total population. In the third century BC, in order to meet the increasingly urgent needs of these Greek-speaking Jews, the church decided to translate the Hebrew text of the Old Testament into a Greek text. In the second century BC, an unknown Jew once wrote an epistle article, which was later named “Letter of Aristeas” (“Letter of Aristeas”), which records that in the third century BC, Jerusalem At the request of Egyptian King Ptolemy II Feiradelphis (308-246 BC), Bishop Elizar sent translators to Alexandria to undertake the translation of the Old Testament. In this way, according to Ptolemy II's will, between 285 and 249 BC, 72 “noble” Jewish scholars gathered in the Library of Alexandria, Egypt, to perform this translation. According to legend, the 72 scholars came from 12 different Israeli tribes, with 6 from each tribe. After they came to the Library of Alexandria, they worked in pairs in 36 locations and translated them into 36 translations that were very similar to each other. Finally, 72 translators gathered together to compare and check the 36 translation manuscripts, and reached a consensus on the wording of the final version, and called it the “Seventy Son Text” or “Seventy Magi Translation”, that is, “Septuagint” (“Septuagint”), has since opened a precedent for collective translation in the history of translation. Soon after the translation of the “Seventy Sons”, the priests held a joint meeting with the Jewish leaders and pointed out: “This translation is well translated, pious, and very accurate. &lt;br /&gt;
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Therefore, it must be kept as it is and cannot be changed.” We also regarded it as the classic translation. In fact, this Greek translation became the “second original”, and sometimes even replaced the Hebrew text and ascended to the throne of the “first original”. Many of the translations of the Bible in languages such as ancient Latin, Slavic, and Arabic are not based on the original Hebrew but on the Greek translation.&lt;br /&gt;
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== Multilingualism in the Chinese version of the Bible==&lt;br /&gt;
According to the report of the World Union Bible Association in 2006, the new and Old Testament of the Bible has been translated into 301 different languages. If regional dialects and partial translations are included, the translated languages of the Bible have exceeded 2287 different languages. The Bible is the most widely circulated and translated book in the world.&lt;br /&gt;
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If someone says that in Chinese history, the Bible has the largest number of translated versions, the largest number of Chinese language forms, both vernacular and classical Chinese, and the largest number of Chinese dialect forms. It has not only created nearly 10 ethnic minority languages, but also nearly 20 ethnic minority language translation books, but also the largest publication and circulation in modern history, There must be many people who don't believe it.&lt;br /&gt;
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But this is the fact of history. The Chinese version of the Bible does have many historical “best”, which is related to the super pronunciation and super dialect nature of Chinese language and characters, the reform and cultural transformation of Chinese language and culture in the late Qing Dynasty and the early Republic of China, and the fact that most ethnic minorities in Southwest China have only language but no words. The period of the late Qing Dynasty and the beginning of the Republic of China, that is, the 1860s to the 1930s, was the period of the most drastic changes in Chinese language and characters, the period of the transformation of ancient Chinese and its culture into vernacular, the period of the widespread voice and hard practice of Chinese Latinization, the most active period of language and character reform, and the transformation and reform of Chinese language and characters, A variety of transitional writing methods have emerged due to text reform and stylistic changes. However, the reform and expression methods of multiple languages and characters in the late Qing Dynasty and the early Republic of China, some of which are even very short-lived transitional writing methods. The Bible has published translated versions in this text form. This can be best confirmed by many translations of the Bible, such as classical Chinese, half written and half spoken, vernacular, dialect Chinese characters, dialect church Roman characters, Wang Zhao Mandarin phonetic alphabets, Mandarin phonetic alphabets, Mandarin Roman characters, weituoma Pinyin, kuaizi, a variety of ethnic minority characters, blind characters and so on.&lt;br /&gt;
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The large-scale cultural exchange and interaction between China and the west is an important historical phenomenon in the modern world. This cultural relationship has not only changed the cultural and political pattern all over the world, but also greatly affected the development of Chinese culture and society. Language contact is not only an important part of cultural relations, but also an important prerequisite for all other exchanges. The large-scale and multilingual cross-cultural in-depth language and cultural exchange is a modern cultural phenomenon gradually formed all over the world after the great discovery of geography. It is also a prominent manifestation in the history of China's modern foreign cultural relations, which is particularly different from previous dynasties.&lt;br /&gt;
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The language and cultural exchange in modern China began with the arrival of Christian missionaries in China. As the only classic of Christian religion, the Bible inevitably involves the problems of how to translate into China’s local language, how to adapt to and influence the local ideology and culture in the historical process of Christian communication and translation.&lt;br /&gt;
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The earliest translation of the Bible in China can be extended to the Tang Dynasty, which has a long history of thousands of years. Although the Bible translation activities have been interrupted, they continue to this day. In Taiwan and Hong Kong, the Bible translation is still not over.&lt;br /&gt;
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== Bible Translation from Different Perspectives==&lt;br /&gt;
From the perspective of language, Bible translation can be divided into Chinese language and minority language. In addition to the Chinese translation (the Chinese translation is described in detail below), in the process of Bible translation, the missionaries took advantage of the Pinyin advantages of their Latin mother tongue and combined with the pronunciation of local minority languages to create Pinyin characters in the form of Latin letters for those southwest minorities who only have spoken language but no words, that is, bagri Miao Language (old Miao Language) in Northeast Yunnan Frame format: East Lisu, Funeng Renxi Lisu (old Lisu), Jingpo, Zawa, Lahu, Buyi, WA, etc. It also borrowed Chinese phonetic alphabets and modified and created Hu Zhizhong’s Miao language. They translated and published the complete Scriptures or section translations of Jingpo language, Zaiwa language, East Lisu language, West Lisu language, Yi language, Nuosu language and Gepo language, Lahu language, WA language, Naxi language, Dehong Dai language, Xishuangbanna Dai language, Huayao Dai language, Huamiao language, Chuanmiao language, heimiao language, Buyi language and other languages. Among them, Jingpo, Funeng Renxi Lisu and bagri Miao are still widely used in society, and Hu Zhizhong Miao is still used among religious believers in Kaili, Guizhou. These characters not only ended the history of these nationalities without characters, but also provided great reference and Enlightenment for the large-scale creation of characters for ethnic minorities in New China. In the northern minority languages, the missionaries also translated and published Bible translations in Mongolian (karmec Mongolian, kalka Mongolian, Buryat Mongolian), Tibetan (Tibetan Classical Chinese, Tibetan Ladakh dialect, Tibetan Lahore dialect), Manchu, Kazakh and Korean. In Taiwan, missionaries and today’s Taiwan Christian Church have also created Pinyin characters in the form of Latin letters for the Paiwan, Taiya, AMI, Taroko, Yamei, Bunun, Lukai, Dawu and other indigenous peoples, translated and published biblical translations, which are still in use today.&lt;br /&gt;
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From the perspective of Chinese style, Chinese versions of the Bible can be divided into three categories:&lt;br /&gt;
1. Classical Chinese translation, that is, the translation of deep arts and Sciences: in history, there have been yangmano's direct interpretation of the Bible, daysun's translation, masman's translation, Morrison's translation, Guo Shili's translation, commissioned translation (or representative translation), bizhiwen / kebicun translation, Gaode translation, the printed version of the Taiping Heavenly Kingdom, lianweiren translation, and Heshen's translation of Arts and Sciences.&lt;br /&gt;
2. Half written and half white translation, i.e. shallow liberal arts translation: in history, there have been Yang Ge's non shallow liberal arts translation, Shi Joseph's shallow liberal arts translation, Bao John / Ke Bicun translation and hehe shallow liberal arts translation.&lt;br /&gt;
3. Vernacular translation: China is a country with many dialects. Six of China's seven dialects have Bible translations. Among them, nine branches of five dialects, including Wu, min, Guangdong, Hakka and Mandarin, have biblical Chinese characters. They are Nanjing dialect translation, Beijing dialect translation, Hankou dialect translation, Tianjin dialect translation, Shanghai dialect translation, Ningbo Dialect translation, Suzhou dialect translation, Hangzhou dialect translation, Fuzhou dialect translation, Xiamen dialect translation, Shantou dialect translation, Guangzhou dialect translation, Hakka dialect translation Hakka Sanjiang dialect translation. In 1919, the vernacular intensive cost and official script appeared, which is the Bible translation used by the Christian Church of China.&lt;br /&gt;
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From the perspective of Chinese text form, Bible translation can be basically divided into seven categories:&lt;br /&gt;
1. Chinese Character Edition: in history, there were classical Chinese character edition and vernacular Chinese Character Edition (including dialect Chinese Character Edition);&lt;br /&gt;
2. Roman script of church Dialect: missionaries spell the words of local dialects according to the Latin alphabet. There are 15 branches of the six dialects, including Nanjing dialect translation, Beijing dialect translation, Shandong dialect translation, Shanghai dialect translation, Ningbo Dialect translation, Hangzhou dialect translation, Wenzhou dialect translation, Jinhua dialect translation, Taizhou dialect translation, Fuzhou dialect translation Bible translations of Xiamen dialect, Shantou dialect, Xinghua dialect, Jianyang dialect, Shaowu dialect, Hainan dialect, Guangzhou dialect, Hakka Guangdong and Taiwan dialect, Hakka Wujingfu dialect, Hakka Tingzhou dialect and Hakka Jianning dialect;&lt;br /&gt;
3. Wang Zhao Mandarin phonetic alphabet: the Bible is spelled with Wang Zhao Mandarin phonetic alphabet. There have been Bible translations of Tianjin dialect, Hankou dialect, Hebei dialect and Jiaodong dialect;&lt;br /&gt;
4. Mandarin phonetic alphabet: there have been Bible translations of Fuzhou dialect and Jiaodong dialect;&lt;br /&gt;
5. Braille script；&lt;br /&gt;
6. Quick script: that is, the Bible translation of early sketch;&lt;br /&gt;
7. Weituoma Pinyin book.&lt;br /&gt;
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In terms of publication forms, there are many kinds of publications, such as Chinese character edition, Chinese character and foreign language comparison edition, Chinese character and Mandarin phonetic alphabet comparison edition, Chinese character and Wang Zhao Mandarin phonetic alphabet comparison edition, Chinese character and church Roman character comparison edition, church Roman character and Mandarin phonetic alphabet comparison edition, etc. As far as the editions are concerned, there are single volume edition, multi volume edition, the New Testament, the Old Testament, the New Testament with psalms, the new and Old Testament, etc., with a total number of more than 1000. Based on the American Bible Society, the British Bible Society and the Scottish Bible Society, which had the greatest influence in old China and published and sold various versions of the Bible, a total of 225 million copies were sold from 1814 to 1934; From 1814 to 1950, 279351752 copies were sold.&lt;br /&gt;
After the founding of new China, the Chinese Christian Church basically took the heheguan vernacular Version (later called hehehe vernacular version, hereinafter referred to as hehe version) as the Bible translation dedicated to the church, and no other Chinese classical Chinese or dialect versions of the Bible were published. As of December 2007, the Christian Church of China has printed and distributed 50 million copies of Hehe vernacular books. China has become one of the countries with the largest number of printed Bibles in the world.&lt;br /&gt;
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== Conclusion==&lt;br /&gt;
== References==&lt;br /&gt;
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== 叶维杰 Medieval Arabic Translation Movement=&lt;br /&gt;
== Abstract==&lt;br /&gt;
The Medieval Arabic Translation Movement(The Harakah al—Tarjamah) is also called the Translation Movement. It was a large-scale organized academic activity carried out by the Arab Empire in the Middle Ages to translate and introduce ancient Greek and Eastern scientific and cultural classics. The Abbasid Caliphate implemented a diversified and inclusive cultural policy, vigorously advocated and sponsored the translation of academic classics from ancient Greece, Rome, Persia, India and other countries into Arabic to absorb advanced cultural heritage. The Arabic translation movement preserved the natural sciences and humanities in ancient Greek and Roman cultures, and played an extremely important role in promoting the cultural revival of European political and cultural conditions in the late Middle Ages. The Hundred-Year Arab Translation Movement lasted for more than two hundred years, spanning the vast regions of Asia, Africa, and Europe, and blending ancient Eastern and Western cultures such as Persia, India, Greece, Rome, and Arabia. There are not many translation activities in the history of world civilization. Analyzing its causes, processes, results, and impacts is of great academic value for studying the phased development of human civilization and the commonality of human wisdom, and it is also of great help to deeply understand the Arab Islamic philosophy and culture.&lt;br /&gt;
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== Key words==&lt;br /&gt;
Harakah al—Tarjamah, translation movement, Western culture, Islam&lt;br /&gt;
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== Introduction==&lt;br /&gt;
The Harakah al—Tarjamah is also called the Translation Movement. The Centennial Arab Translation Movement lasted for more than two hundred years. The content of translation involved cultural achievements such as ancient Greek and Roman culture, Persian Mesopotamian culture, and ancient Indian culture. It spanned three continents and five seas in space and was the most extensive in human history. One of the major events. The Arab translation movement in the middle of the eighth century to the end of the tenth century not only changed the backward state of the Arab nation, but also gave birth to a strong Arab-Islamic culture; and its document translation was extremely important to the Renaissance movement in the later political and cultural state of Europe.The Arab Empire in the Middle Ages carried out large-scale and organized academic activities that translated and introduced ancient Greek and Eastern scientific and cultural classics. The Abbasid Caliphate implemented a diversified and inclusive cultural policy, vigorously advocated and sponsored the translation of academic classics from ancient Greece, Rome, Persia, India and other countries into Arabic to absorb advanced cultural heritage. The Arabic translation movement preserved the natural sciences and humanities in ancient Greek and Roman cultures, and played an extremely important role in promoting the cultural revival of European political and cultural conditions in the late Middle Ages. The Hundred-Year Arab Translation Movement lasted for more than two hundred years, spanning the vast regions of Asia, Africa, and Europe, and blending ancient Eastern and Western cultures such as Persia, India, Greece, Rome, and Arabia. There are not many translation activities in the history of world civilization. Analyzing its causes, processes, results, and impacts is of great academic value for studying the phased development of human civilization and the commonality of human wisdom, and it is also of great help to deeply understand the Arab Islamic philosophy and culture.&lt;br /&gt;
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The Arabic translation movement can be divided into three periods: the first period is from the middle and late 8th century to the late 9th century. Translation activities in this period were mainly carried out with the support of the famous Caliph Mansour and Harun Rashid. The translated books are mainly Persian works, and the content mostly revolves around astronomy and medicine. The second period was from the early 9th century to the middle and late 9th century. The Caliph Maimon strongly supported this matter and achieved the golden age of the 100-year translation movement. The content involved ancient Greek philosophy, natural sciences, etc.; the last period was from the middle and late 9th century to the early 10th century. During this period, the support of the Caliphate and the pace of translation declined, and a lot of work was retranslation and revision of previous translations. At this time, the translation movement has also entered its end. The century-old translation movement with a history of more than 200 years changed the backwardness of the Arab nation and gave birth to Arab-Islamic culture, which had a significant impact on Arab society. This movement promoted the exchange of various cultures while preserving classics and ancient books. Rongtong has added an important heritage to the world cultural treasure house, and has had a positive and valuable impact on the development of world culture. This article will give a more systematic introduction to the movement, divided into the following three parts: the reasons for the translation movement, the Baghdad Translation Center of the translation movement, and the influence of the translation movement.&lt;br /&gt;
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== The Background and Cause of Translation Movement ==&lt;br /&gt;
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During the Umayyad dynasty, Arab Muslims were fully aware of the importance of absorbing the highly developed spiritual culture of foreign nations. In order to adapt to the actual needs of society, Khalid bin Yazid organized a group of people who were proficient in Syriac, Greek or Persian scholars, focusing on the translation of ancient books in medicine and pharmacology and chemistry, and have conducted translation explorations in a broader academic field. The beginning of the Arabic translation movement and its subsequent 200-year glorious achievements are mainly due to the following four factors:&lt;br /&gt;
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1.Geographical factors: &lt;br /&gt;
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Since Mansour, the second caliph of the Abbasid dynasty, established its capital in Baghdad, the important position of Baghdad as the political, economic and cultural center of the dynasty has been highlighted. Baghdad is located in the two rivers basin of West Asia and is located in the main traffic arteries between the East and the West. Throughout the history of civilizations in the world, rivers and civilizations have accompanied each other. The superior geographical location has created good conditions for cultural exchanges, accelerated the circulation of classics from various countries, and provided large-scale translation activities. Provides a wealth of source text.&lt;br /&gt;
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Damascus, the capital of the former Umayyad dynasty, was handed over to Muslim rule after several regime changes. Prior to this, Damascus was an important center of Greco-Roman culture, with Greek as the official language, while the new capital of the Abbasid dynasty, Baghdad, was close to Persia. Ctesiphon, the old capital of the Sassanid Dynasty, was influenced by Persian culture before Islamic cultural rule. Therefore, during the translation movement at that time, a considerable number of Persian translators participated in the translation, and a large number of Persian classics were translated into Arabic and retained . &amp;quot;The Persian influence set back the original life of the Arabians, and paved the way for a new era characterized by the development of science and academic research.&amp;quot; By translating classic works of other ethnic groups, cultural exchanges between different ethnic groups can be realized. Translation Played an important role as a bridge. At the same time, the Persian aristocracy made great contributions to the establishment of the Abbasid dynasty and was quite influential in the regime. The caliph also urgently needed the support of this force to promote cultural integration and identity identification among different ethnic groups. Therefore, geopolitical factors are undoubtedly one of the important driving forces for the vigorous development of the Abbasid dynasty translation movement.&lt;br /&gt;
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2.Religious factors:&lt;br /&gt;
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In the early days of the Umayyad dynasty, the domestic political situation was basically stable, but there were still some political opponents and religious scholars dissatisfied with the rule. The influence of Christianity still exists. Islam, as a relatively young faith, has impacted on different religions and cultures. Make efforts to gain a firm foundation. In the early days of the rise of Islam, the spread of teachings could only be done through word of mouth, and academic interpretation was mainly based on the Koran. Except for Arabic and Islam, the early Muslims failed to import advanced culture or science and technology into the conquered areas, and only focused on consolidating the rule of Islam in the Arab region. The purpose of early translation activities was limited to promoting the dissemination of Islamic culture. For religious purposes, the original intent of religious works was greatly changed during the translation process. Although this practice can play a certain missionary role, it violates the basic principles of translation, fails to accurately convey the original information, and loses the inheritance significance of the original.&lt;br /&gt;
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After the establishment of the Abbasid dynasty, the Islamization of the empire further deepened, and at the same time a batch of fresh religious and cultural blood was injected. The Quran is more tolerant towards foreign denominations such as Judaism and Christianity. Especially for Christians, the Quran calls them “the closest people to Muslims”. Under the guidance of this doctrine, “The Abbasid Empire has become an Islamic empire instead of a Umayyad-style “Arab Empire”. A large number of infidels and Muslims intermarried, reducing the ideological gap between various ethnic groups. Translator The religious structure of the group has been substantially adjusted. The converts filtered by Islamic ideology brought an active academic atmosphere and non-Islamic theological concepts, and multidisciplinary systems such as linguistics, literature, law, philosophy, and mathematics were gradually formed.&lt;br /&gt;
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Islamic culture was further enriched in the Abbasid dynasty. The spirit of advocating knowledge and scholarship became the spiritual source of the translation movement during this period. The increasingly diversified inner religious spirit became the source of the translation movement, and promoted the translators of different religions. Translation behavior and multiple beliefs collide with each other, the scale of translation continues to expand, and the types and content of translations are also enriched by the tolerance of religious and cultural attitudes. The prosperity of the translation movement was promoted by many factors. At the religious and cultural level, the acceptance of various religious beliefs is a prerequisite for the vigorous development of the translation movement. If Muslims completely reject paganism and force other believers to convert to Islam, the participation of Christians or Jews in translation activities will be greatly reduced, the diversity of translator groups will be combated, and the perspective of translation research will inevitably be affected.&lt;br /&gt;
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3.Science and technology factors:&lt;br /&gt;
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In terms of science and technology, two factors have jointly promoted the development of translation, one is the foundation of early document translation, and the other is the introduction of papermaking.&lt;br /&gt;
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The Prophet Muhammad said: “Learning is divided into two categories: religious learning and physical learning (medicine).” Translators of the Umayyad Dynasty followed this precept and performed sporadic translations of works on medicine, philosophy, and chemistry. , Pave the way for the emergence of the golden age of the translation movement in the later dynasties. &amp;quot;As for the natural sciences such as medicine, logic, and mathematics of the Islamic nation, it has been systematic from the beginning. Because partial research on it has already been carried out in Greece, India, Persia and other countries, and it has been sorted and recorded. It’s the stage of analysis and analysis. In the Abbasid era, these subjects were completely translated into Arabic without starting from scratch. Perhaps, when the writers of the paraphrasing subjects saw the rigorous system of natural science, they copied their practices. Some styles that they think are good have been added.” The scientific inquiry and translations of works in early Islam facilitated the prosperity of the translation movement, and Abbasid translators only needed to review the documents based on the collated documents. Or retranslation, which greatly improves the accuracy of translation.&lt;br /&gt;
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The status of the development of emerging technologies in the Arab translation movement is undeniable, but technological development is equally important to the spread of early civilizations and is not unique to the Abbasid dynasty, so it cannot be used as a unique motivation for the emergence of large-scale translation activities in the Abbasid dynasty. However, the introduction of papermaking technology did make an indelible contribution to the cultural heritage of the empire. The first paper mill in the empire was located in Samarkand on the Silk Road in Central Asia. In the centuries before it was conquered by Islam, this city was already one of the most prosperous cities in the Persian Empire, and it was the academic center of Persia until the Middle Ages. The smooth flow of Eastern Commercial Road brought papermaking technology to Muslim countries. The introduction of papermaking has obvious influence on the translation movement. The Arabs replaced expensive parchment with relatively inexpensive paper, which made writing records and book circulation more convenient and expanded. People's demand for academic works has promoted the large-scale emergence of translation movement.&lt;br /&gt;
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4.Translation ability factor：&lt;br /&gt;
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Maimon, the seventh caliph of the Abbasid dynasty, established a &amp;quot;wisdom palace&amp;quot; on the basis of the Mansour Royal Library to recruit academic elites from all walks of life for translation work. The historian Yakubi once described the academic style in Baghdad: &amp;quot;Scholars in Baghdad have a higher education level, where experts are more knowledgeable in tradition, grammarians are more reliable in syntax... Logicians think more clearly Missionaries are also more eloquent.” Although the translators of this period were not true translators, they all had received strict philosophical and logical training. Some Syrian Christians specially returned to Greece to study in order to improve their language skills. They used Syriac as their mother tongue as a translation agency and played an important role in the translation movement. The translators in the Abbasid period built bridges between different languages and cultures with their outstanding professional ability, serious translation attitude and unlimited enthusiasm for science, which became another important driving force for the vigorous development of translation movement.&lt;br /&gt;
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With the popularization of academic knowledge and the dissemination of various books, the scientific and cultural literacy of translators has also been comprehensively improved. The increase in knowledge reserves in astronomy, medicine, philosophy, etc. makes translation activities not only at the level of mechanical code switching. , But based on understanding and even proficiency in the meaning of the text, improving the level of translation in terms of translation quality and translation speed.&lt;br /&gt;
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== Baghdad Translation Center ==&lt;br /&gt;
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Baghdad Translation Center:&lt;br /&gt;
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Before the Arab conquest, there was a tradition of studying ancient Greek cultural classics and translating them into Syriac. With the expansion of Islamic countries and the spread of religion, Arabic was popularized as an official language. At that time, there were many Syrians, Persians, Egyptians, Jews, Bebers, Spanish, Sicilians, and even Italians have become Muslims, and the Arabic language has been greatly popularized. During the reign of the Caliph dynasty, due to its rulers' enthusiasm for academic research and translation, under the impetus of the rulers, the Arab region in the Middle Ages became the center of science and translation.&lt;br /&gt;
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Baghdad was the capital of the Abbasid Caliph dynasty. The rulers of the dynasty strongly supported the translation and paid the translators a very substantial compensation. With the support of the caliph ruler, a large number of Syrian, ancient Persian and Sanskrit texts were translated. At that time, they were most interested in medicine and philosophy. The choice of translation work text was not only political and cultural, but the personal interests of the current caliph and courtiers were also important factors. The Arab world attaches great importance to astronomy and calendar, mainly for the service of its religion. They used astronomy and calendar to accurately calculate the exact time of the five prayers, so that they could give the correct latitude and longitude coordinates facing the holy city of Mecca in any Islamic mosque for pilgrimage and prayer, and accurately calculated the time of fasting The exact number of days of the period. Therefore, many caliphs of the Abbasid dynasty paid great attention to the translation of astronomy and calendar classics. During the reign of the third-generation caliph Harun Al-Rashid (Harun Al-Rashid, said to be the prototype of the protagonist in the story of &amp;quot;The Thousand and One Nights&amp;quot;), the &amp;quot;Treasury of Knowledge&amp;quot; library was Established, it contains a large number of trophies of Greek literature and science obtained by defeating Byzantium. By the time of the fourth caliph Al-Mamun (reigned 813-833), Mamun was built in Baghdad in 830 AD The “House of Wisdom” (House of Wisdom), which is larger than the “Treasure House of Knowledge”, aims to translate the scientific and philosophical works of ancient Greece into Arabic. A large number of ancient Syriac, ancient Persian, and texts can be obtained here. In addition to translation, it is worth mentioning that during this period, many ancient Greek texts were translated into Arabic and preserved. In the 9th and 10th centuries AD, the city of Baghdad was the center of a vast translation project whose goal was to translate ancient Greek scientific and philosophical works into Arabic. This event had a profound impact on the development of science and philosophy in the entire Arab world, and directly brought about the dramatic changes in the culture and ideas of the region at that time. At that time, Hunayn Ibn Ishaq was in charge of the translation work. He and his more than 90 people translated a large number of Plato and Aristotle's works: Plato's Dialogues and &amp;quot;The Utopia&amp;quot;, Aristotle's Logic Essays Set The Organon, including Categories, On Interpretation, Pior Analytics, Posterior Analytics, Topics, On Sophistical Refutations, The Metaphysics.&lt;br /&gt;
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In addition to noting the translations of the original authors, the Arab scientists of this period also contained translational elements in their own works. Al-Razi (865-925), the author of the most important medicinal work at the time, was a student of Hunayn’s disciple. His most famous &amp;quot;Medical Integration&amp;quot; actually had a lot of content compiled, and the book collected All the medical knowledge of ancient Greece, India and the Middle East that was known at that time.&lt;br /&gt;
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Alchemy also emerged in Arab countries during this period. It was initiated by the &amp;quot;mystic&amp;quot; Jabir Ibn Hayyan. He put forward a doctrine in his legacy writings that all things, especially metals, are based on mercury and Formed by the interaction of sulfur. The alchemy of China and Alexandria also had the seeds of this doctrine. Arab alchemists adopted the four-element theory of ancient Greece and imagined that by changing the amount of the elements that make up a metal, one metal can be transformed into another metal.&lt;br /&gt;
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In the Arab world in the Middle Ages, like other ancient civilizations, encyclopedic scholars also appeared. The most representative one is Omar Khayyam (1048-1131). He was proficient in calendar reforms and algebraic studies, but his &amp;quot; Quartet&amp;quot; made him famous soon after him. His Rubaiyat of Omar Khayyam is popular all over the world, and there have been hundreds of versions so far. His poems are recognized as the treasure of world literature and become the pride of ancient Persian literature.&lt;br /&gt;
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During this period, Al-Khwarizmi (?-835) introduced Indian numbers and Indian algorithms to Arab countries, and later spread them to the world through Europe, which is what we now call &amp;quot;Arabic numbers&amp;quot;.&lt;br /&gt;
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The &amp;quot;Palace of Wisdom&amp;quot; established in 830 AD was the result of Arab absorbing the cultural wealth of China, India, Persia, and ancient Greece. A large number of translation activities continued until the decline of the empire in the 13th century. Translation has had a profound impact on the development of science and philosophy throughout the Arab world. For translators in Baghdad, the translation works play the role of raw materials, and the translated text is not the goal, but the catalyst that stimulates the original ideas and products of knowledge. Therefore, translators regard translation as a creative process, and the translation is often accompanied by comments, summaries or explanatory notes to make the original text easier to understand. Translators are often experts in the field of their translation. In translation, they not only exert their own understanding and comprehensive ability, but also practice their own creativity. A new ideological system was established with the help of translation and became the basis of Arab-Muslim culture. In this context, the prosperous Arab astronomy took the lead in blooming flowers from here, forming the so-called &amp;quot;Baghdad School&amp;quot; of later generations. The works of Alaba during this period were translated into Latin by later European academic circles, which in turn influenced the entire Western civilization.&lt;br /&gt;
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== The Influence of the Arabic Translation Movement ==&lt;br /&gt;
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The Influence of the Translation Movement&lt;br /&gt;
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The Abbasid dynasty was the golden age of the Arab translation movement. The academic research and cultural activities carried out on the basis of translation completely changed the early material and spiritual scarcity of the Arab nation, promoted the development of natural sciences in the Middle Ages, and gave birth to Arab- Islamic culture.&lt;br /&gt;
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1.Promotion of the development of natural sciences:&lt;br /&gt;
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In the golden age of the translation movement of the Abbasid dynasty, a large number of natural science and medical works from Persia and Greece were translated into Arabic. Translators learn astronomy and geography in the translation process, digest the source text and perform creative translation, use Arabic to annotate and explain the unclear or obscure meanings of the original text, and then use the target language that is easy for Muslims to output, which enhances The universality of the text promoted the popularization of Muslim science and culture. &amp;quot;In the eighty years after the establishment of the Abbasid dynasty, the cultural essence of the above-mentioned peoples has been recorded in Arabic. I didn’t know anything about arithmetic, geometry, medicine and other terms, and I knew Aristotle’s logic. Arabs who have never heard of philosophy can use Arabic to express Euclid’s most refined theories, express the law of sines in Indian mathematics, and express Aristotle’s Materialism, Ptolemy’s principles of astronomy, Galen’s medicine, Bizley’s motto, and the politics of the Persian king.” By studying translations, the Arabs built an Islamic medical system on the basis of native medicine. From theory to clinical practice, it has corrected and made up for the medical gap before the Abbasid dynasty. During the Abbasid period, medical achievements have been fruitful and have attracted worldwide attention. At the same time, research in the fields of pharmacology, botany, mathematics, and physics has gradually deepened, and many authoritative works have been published, which have made inestimable contributions to the development of modern science in China, the Arab world, and Europe, and even the development of human civilization. contribute.&lt;br /&gt;
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Whether it is for the caliph’s personal preferences or serving in religious ceremonies, the translation of astrological and astronomical works has promoted the development of modern Arab science and technology. Some translators became astronomers or scientists by translating classics, thus realizing the transformation of their identities. After reading the translated works, many Arabs developed a keen interest in astronomy and mathematics, and then continued to translate. The main works of Euclid and Ptolemy were also translated into Arabic during this period. The translation of classics and scientific development promoted each other, and academic atmosphere became popular for a time.&lt;br /&gt;
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2.The formation of Arab-Islamic culture:&lt;br /&gt;
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While the natural sciences are developing vigorously, from the perspective of ideological and cultural analysis, the translation movement gave birth to Arab-Islamic culture. With the expansion of the Abbasid Empire, Islamic civilization was also brought to the vast conquered areas. Islam in the Umayyad period only existed as a foreign religion in the conquered areas. Christianity still has a profound influence there, and the beliefs of residents have not changed much. With the influence of various factors such as intermarriage and political dependence, the Islamization of the Arab empire has gradually advanced in the ruled areas and merged with the local culture into a splendid and complex Arab-Islamic culture. &amp;quot;After the 7th century, Islamic culture rose to become the mainstream culture of the Mediterranean. The Arab Empire became an important center of world culture at that time, and it radiated strongly outward.&amp;quot;&lt;br /&gt;
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The unification of language helps resolve ideological contradictions and promote national cultural identity. During the translation movement, the further popularization of Arabic became the official language of the empire, the civilization of neighboring countries gradually declined, and the status of Arab-Islamic culture gradually took shape. Without the prosperity of the Abbasid translation movement, there would be no new cultural construction of Islamic civilization. Since then, Arab-Islamic culture has shined in Spain. During the Arab rule of the Iberian Peninsula, it had a significant impact on the formation of Spanish national culture and language, and it also left a deep Arab imprint in the formation of European civilization. Although the Arab Empire fell apart due to religious and political struggles, the Arab-Islamic civilization left behind by the translation movement is still shining.&lt;br /&gt;
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3.Having Promoted the Renaissance in Europe:&lt;br /&gt;
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In the history of modern science, the Western Middle Ages has been given the image of a &amp;quot;dark age&amp;quot;. In the Middle Ages from 500 to 1500 AD, because European countries pursued a religious theology and idealistic view of nature, the priests of the Roman Church only knew that they adhered to the dogma of their church. Religion seriously hindered the development of science. Therefore, Western science was here. The stage of development is unusually slow. The Christian churches in the West had brutally attacked the ancient Greek heritage and regarded this as a heritage related to idolatry that was harmful to the Christian faith. Christians were forbidden to learn more. At that time, the writings of most Greek philosophers and writers were despised. . The Byzantine emperor Constantine even closed the philosophical school in Athens in 529 AD, and this hostile attitude towards Greek heritage continued for centuries. Muslim scholars saved the Greek heritage by studying and in-depth annotations of the writings of Aristotle, Gran, and Ptolemy. It was through the labor of these Muslim scholars that the European countries that were shrouded in the dark age at that time realized their true and forgotten traditions of Greek science and philosophy. It is precisely because of the Arab world's translation of ancient Greek and Roman scientific and philosophical works that the natural and human sciences in ancient Greek and Roman cultures were preserved, so that the translation of Arabic documents in Europe in the late Middle Ages promoted European politics In this regard, the cultural revival is indispensable for the contribution of the Arab Translation Movement.&lt;br /&gt;
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== Conclusion==&lt;br /&gt;
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The Abbasid dynasty was the second hereditary dynasty of the Arab Empire, which lasted for more than five hundred years. The translation movement that flourished in this era pushed Arab-Islamic culture to its peak under the multiple combined forces. Although the power of the Arab empire in the second half of the 9th century was declining and the Caliphate came to an end, its cultural influence has never diminished. With the advancement of international cultural exchanges between countries, the Arab translation movement still has important practical significance: &lt;br /&gt;
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First of all, cultural exchanges between countries in the world are becoming more and more frequent. Translation disciplines are no longer limited to the language field. Interdisciplinary translation has become a future trend. It is a new type of challenge; &lt;br /&gt;
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secondly, a good academic environment is a prerequisite for promoting knowledge progress and achieving academic innovation. During the Abbasid dynasty, translation activities were organized and carried out on a large scale under the call of the state, focusing on and rewarding academic activities, and setting up academic institutions. The academic atmosphere of the entire Baghdad city was strong, and the natural sciences and social sciences had been developed by leaps and bounds. This provides a reference for the further construction of the academic environment of other countries. &lt;br /&gt;
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Furthermore, the development of science and technology has closely linked the countries of the world, and the collision of multiculturalism has become the theme of the development of civilization in the world today. The reason for the success of the Arab translation movement is that Muslims' tolerance towards other religions and foreign cultures is a crucial part. This is also the main reason why Arab-Islamic culture has absorbed the millennium culture of ancient Greece and Rome in a century. In summary, the Abbasid dynasty’s open and inclusive attitude towards academic activities led the Arab translation movement into a golden age. The vigorous development of the translation movement during this period promoted the progress of the natural sciences of the Arab Empire, and laid a solid academic foundation for the early inheritance of science and culture, as well as the exchanges and mutual learning between Eastern and Western civilizations. Despite the decline of the Arab empire, the characteristics of Arab-Islamic culture will continue in new ways. In the contemporary era, the Abbasid dynasty translation movement provides the world with a deeper historical perspective, and provides a useful reference for the training of translators and cultural exchanges in various countries around the world.&lt;br /&gt;
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Although the vigorous Arab translation movement for a century has been obliterated in the long river of history, the impact of the Arab-Islamic culture produced is far-reaching. Throughout the long history, one can still hear the voices of many Muslims and non-Muslim scholars struggling to translate manuscripts in the &amp;quot;Wisdom Hall&amp;quot;, as well as their clamor for truth and academic culture; you can still hear the Arab Muslims in &amp;quot;for Allah&amp;quot; Under the slogan of &amp;quot;War&amp;quot;, the screams of expansion riding on a war horse; I can still imagine the amazing scenes of Arab merchants traveling thousands of miles and sailing merchant ships to China and Scandinavia. Under the influence of the strong Arab-Islamic culture, the people of the Arab empire have discarded national and racial differences and formed a spirit of &amp;quot;Muslim brothers and sisters&amp;quot; psychologically. This strong culture and common psychological cognition give Arab-Islamic culture a tenacious vitality, and it still arouses echoes from time to time in Arab countries and the Islamic world.&lt;br /&gt;
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== References==&lt;br /&gt;
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= Brief history of French translation =&lt;br /&gt;
李怡 Li Yi ,Hunan Normal University ,China&lt;br /&gt;
== Abstract==&lt;br /&gt;
The purpose of this article is to make a brief introduction to the translation history of France. The history of French translation began in the Middle Ages: with the development of Christianity and nationalism, the royal family hired translators to translate the Bible. The Renaissance in the 16th century, as well as economic and educational development, increased the demand for reading and writing, thus promoting the development of translation, most of the translated works are classical works. Then two religious films appeared in France: Jansenists and Jesuit, which had a great influence on the translation schools of that time. During the Enlightenment in the 18th century, France was deeply influenced by Britain, so most of the works in this period were British progressive thoughts and literature. The Industrial Revolution in the second half of the 18th century increased French scientific and technological translation. With the progress of the French Revolution, French translators are more inclined to the economic and political and judicial fields. After the Second World War, the translation industry in France recovered and developed vigorously. France even set up ESIT（École Supérieure d'Interprètes et de Traducteurs）to train senior translators. In the 20th century, there appeared many translation theorists in France, which promoted the professionalization of translation.&lt;br /&gt;
== Key words==&lt;br /&gt;
Renaissance, French translation, contemporary, French Revolution&lt;br /&gt;
== Introduction==&lt;br /&gt;
As a developed country in the west, France has a very long translation history. Translators and translation theories emerge in endlessly, which can not be ignored in the history of translation. At the same time, with the development of globalization, translation theories in various countries learn from and integrate with each other. Among them, French translation theory also plays a very important role. Therefore, it is necessary to comb the history of French translation and study the translators of relevant times and their relevant theories.&lt;br /&gt;
==1.Medieval French translation based on Bible Translation==&lt;br /&gt;
In the middle ages, translation in various countries was deeply influenced by religion, especially the translation of the Bible, which greatly promoted the development of translation. In France, the royal family specially hired translators to translate various Latin and Greek works for the imperial court. The most prominent court interpreter was Nicholas Oresme of the Charles V Dynasty. Aristotle's works translated by him in 1377 had a great impact on the French translation and philosophy circles at that time. Jean de Vigne translated the Latin Bible in French in 1340. In addition, Jean de malkaraume, J argyropylos and others translated the works of Virgil, Ovid, Aristotle, Plato and contemporary writers at the same time.&lt;br /&gt;
==2.Renaissance: the development of French translation==&lt;br /&gt;
The Renaissance is the development period of French translation theory. The main representatives are Dolet and Jacques Amyot, especially the former. In the 16th century, there was an upsurge of translation in France. During this period, the focus of translation shifted from religious translation such as the Bible to classical literature translation. Religious translation abides by the translation principle of &amp;quot;word to word&amp;quot; . Its purpose is to follow the will of God and avoid blasphemy. This is irrefutable, so there are not many translation theories to speak of. However, as a new genre, the translation of literary works is different from the previous religious translation. Translators face many new problems, so translation theory came into being. Dolet and amyot are the most prominent representatives of translation theory in this period. They are both translators and translation theorists, and the latter wins especially by translation. Both their translation theories come from translation practice, so they are persuasive. Dolet is famous for his &amp;quot;five principles of translation&amp;quot;. &amp;quot;Five principles of translation&amp;quot; comes from his paper on how to translate well published in 1540 ,La manière de bien traduire d’une langue à l’autre. 1. the translator must fully understand the content of the translated work; 2.The translator must be familiar with the target language and the target language; 3.The translator must avoid word by word translation; 4.The translator must adopt the popular language form; 5.The translator must select words and adjust word order to make the translation produce the effect of appropriate tone. (Tan Zaixi,2004:71)These five principles involve the criterion of &amp;quot;faithfulness&amp;quot; in translation, the translator's bilingual ability, translation methods, style and style of translation. Amyot is one of the greatest translators in the history of French translation. He is known as the &amp;quot;king of translation&amp;quot;. His translation has had a great impact on that time and future generations. He follows two principles in Translation: 1. The translator must understand the original text and make great efforts in the translation of content; 2.The translation must be simple and natural without any decoration. The first involves the standard of faithfulness in translation, and the second involves the style of translation. These two principles are similar to the first and fifth of Dolet's five translation principles.&lt;br /&gt;
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==3.The 17th century: the climax of French translation and various translation schools==&lt;br /&gt;
After the Renaissance, classicism deeply influenced France. In the translation circle at that time, people were engaged in the translation of classical works on a large scale. Translation has launched a magnificent &amp;quot;dispute between ancient and modern&amp;quot; around the translation methods of classical works. Some translators pay more attention to the past than the present: they pay attention to the imitation of words with sentences, and praise the so-called accurate translation method. Some translators prefer to use the opposite translation method.&lt;br /&gt;
In the 17th century, the most famous French translator was Perrot d’Ablancourt,, His translation is sophisticated and elegant, both meaningful and beautiful, and easy to understand. There are no words that need to be explained in order to clarify the meaning in the translation, and there are no annoying cliches. Therefore, he has a great reputation for a long time. His characteristic is to take an original work and grasp the main idea. No matter what the original style is, as long as the translation is literary and readable and can make contemporary readers love and welcome, he will do whatever he can to add or delete the content at any cost, and modify it if he can, regardless of the accuracy of the translation. At that time, this literary and beautiful translation method attracted many followers, but it was also criticized by many people as &amp;quot;beautiful but unfaithful&amp;quot;.By the end of the 17th century, those who advocated free translation were overwhelmingly in favor, while those who really advocated accurate translation were few and far between. The earliest theorist to advocate accurate translation was Bachet de Méziriac in the mid-17th century. In December 1635, he published an essay entitled &amp;quot;on translation&amp;quot; at the French academy, stating that translators must observe three principles :1.do not stuff the original work with personal goods; 2.The original work shall not be abridged; 3.No alteration may be made detrimental to the original intention. &lt;br /&gt;
As one of the most influential translators in France in the 17th century, Daniel Huet, worshipped classical literature and clearly advocated accurate translation. He criticized both post-modern translators and unfaithful translators abranguel. He believes that the best translation method is: the translator first closely follows the original author's meaning; Secondly, if possible, stick to his words; Finally, try to reproduce his character as much as possible; The translator must carefully study the character of the original author, not delete, weaken, add and expand, and faithfully make it complete as the original. His translation principles are: the only goal of translation is to be accurate. Only by accurately imitating the original in language can it be possible to accurately convey the original author's meaning; The translator has no right to choose words or change word order arbitrarily, because &amp;quot;Deviation&amp;quot; from the original text will lead to deviation from the original meaning. His translation theory has been praised by many people, but due to the lack of practice, his theory is not attractive to translators.&lt;br /&gt;
In the 17th century, there were also two representatives from inaccurate translation to accurate translation,François Maucroix and Jacques de Tourreil.&lt;br /&gt;
François Maucroix is regarded by contemporary and later critics as one of the most outstanding French translators in the 17th century and the first person to translate demesne in the 17th century. In addition to demesne, he also translated the works of Plato and others. Maucroix received the education of the Jesuit Church in his early years, was greatly influenced by the Jesuit Church, loved debating literature, and paid attention to ingenious expression and beautiful language style.&lt;br /&gt;
His early translations were inaccurate in content, style or written expression. He liked to modernize ancient terms and expressions. In 1685, his style changed, and his translation became more accurate, which seemed to have completely corrected the defects of procrastination and weakness in his early translation. The reason can be seen from his letters with Boileau in the last decade of the 17th century. He regarded Boileau not only as the most important representative of classical literature, but also as an authority on translation theory. Therefore, he always sent the translation to Boileau for revision. Boileau read the manuscript carefully, criticized some paragraphs and put forward better translation methods. In his reply, Maucroix said that Poirot's criticism of some of his inaccurate translations was pertinent, and his opinions on the revision were also very good. He admitted that the inaccurate translation was a mistake and must be completely corrected. He finally realized that translators must adhere to the principle of accurate translation if they want to become real classicists.&lt;br /&gt;
Jacques de Tourreil also experienced a change from inaccurate translation to accurate translation, which is reflected in his translation of three different versions of Demosthenes. In 1691, he published his first translation, which was influenced by the education of the Jesuit and paid attention to elegant style rather than accurate content. Tourreil processed the original work in the most ingenious way to modernize the ancients. After the translation was published, it was immediately severely criticized by Racine. After being criticized, Tourreil published a revised version in 1710, but the revised version actually only made detailed changes to the original translation, and the guiding principle of translation remains unchanged, that is, we must &amp;quot;make the characteristics of the original work conform to the characteristics of our nation&amp;quot;. The new translation has received various comments. On the one hand, the ancient school refers to Tourreil 's attempt to impose new ideas on Demosthenes, believing that he not only did not beautify the original work, but distorted and vilified the original work. On the other hand, the present school believes that Tourreil's unfaithful translation of the original is better than the original, which is worth applauding. Tourreil himself is an ancient school. Naturally, he doesn't appreciate the present school's praise and thinks that this praise is &amp;quot;the most severe criticism to the translator&amp;quot;. After that, he revised the translation for the third time, which is very different from the first two versions. It was not only a rare and accurate translation at that time, but also extremely beautiful. The translator translates in strict accordance with the original work, neither adding or subtracting nor making changes. By this time Tourreil had fundamentally changed his point of view.&lt;br /&gt;
Discussing the history of French translation from the 17th century to the 18th century is bound to involve the influence of Jesuit and Jansenists. The main reason is that the people engaged in education at that time were members of these two schools. They had direct or indirect contact with each translation school through their own translation practice and teaching.&lt;br /&gt;
The Jesuit believes that classical literature is worth studying and learning only in the aspect that it provides moral education or guides people how to learn eloquence. The excavation of classical works is not because their contents are of great value, but because of their beautiful forms. Teachers believe that the purpose of teaching is not so much to enable students to obtain substantive knowledge as to enable them to obtain formal learning identity.&lt;br /&gt;
The works translated by Jesuit teachers or students generally have an obvious sign, that is, they do not pay much attention to the spiritual essence of the original work, but only pay attention to the expression of the original thought and the beauty of the translation style. In order to achieve this, translators often sacrifice the content, even misinterpret the original meaning, and religiously turn classical literary works. Therefore, the origin of inaccurate translation in the 17th century is often influenced by Jesuit thought.&lt;br /&gt;
Jansenists is the second school that directly or indirectly affects translation principles. They believe that once students can read and write, they should read these translations in order to obtain basic knowledge about the original author and facilitate more and better reading of the original works in the future. In the early days, the views of the janssenian translators and the Jesuit translators were basically the same. Later, the translators of Jansenists believed that the practice of style for style in translation was also dangerous. However, towards the middle of the 17th century, their views changed and they believed that the style of ancient Greek and Latin writers, especially the style of ancient Greek writers, was worth learning. They really appreciate classical works more than the Jesuits. They admit that the language style of the ancients is superior to that of the present, but the present enjoys more inspiration from God, so the present surpasses the ancients in terms of thought and morality. In this way, no matter from which perspective, their views are completely consistent with those of ancient school. But the translation of Jansenists is far less elegant and beautiful than that of the Jesuits.&lt;br /&gt;
==4.The decline of French translation in the 18th century and the translator Charles Batteux==&lt;br /&gt;
In the 18th century, France was not as powerful as in the 16th and 17th centuries, nor was it culturally complacent. So she began to look at other countries' literature, first of all England. For example, the novels of the contemporary British sentimentalist writer Richard Were translated into French, which had a great influence on the development of French sentimentalist literature. In particular, the Chinese culture, which had been introduced to Europe for a long time, became more active in France in the 18th century. Although the number of translations is large, the quality is often not high.&lt;br /&gt;
Charles Batteux was one of the most important translators in France in the 18th century. He was one of the most influential literary and translation theorists in France and the whole Europe in the 18th century. He edited and published a variety of translation books, translated aristoteles, Horace and many other classical works of ancient Greece and Rome, wrote Principes de Litterature, Cours de Belles-Lettres and other works. Batteux elaborated his thoughts and views on translation in The Principles of Treatise. His original views and excellent exposition made this book an important milestone in the development of translation theory in the 18th century.&lt;br /&gt;
The fifth part of Principes de Litterature deals with translation problems.The theory of Charles Batteux obviously has the characteristics of philosophers, linguists, philology and translation. In other words, Charles Batteux discusses the principles of translation mainly from the perspective of general linguistic skills, rather than literary creation. He proposed the following 12 rules for dealing with word order in translation: 1. We must not alter the order of what the original says, either as fact or inference. 2. We should also preserve the order of ideas in the original text. 3. No matter how long the original sentence is, it should be kept intact in the translation, for a sentence is a thought in which the different elements are related to each other, and their correlation constitutes a kind of harmony. 4.All the conjunctions in the original text should be preserved. It is these conjunctions, so to speak, that hold the sentence elements together. 5. All adverbs should be placed either before or after the verb, depending on the harmony and momentum of the sentence. 6.Symmetrical sentences should be translated into symmetrical sentences. 7. Colorful ideas should be expressed in as much space as possible in the translation so as to maintain the same brilliance. 8. Rhetorical devices and forms of speech used to express ideas must be preserved in the translation. 9. We must translate short and pithy sayings that people like, or translate them into words that are natural and can be used as proverbs. 10. Interpretation is incorrect and incomplete because it is no longer a translation but a commentary. However, if there is no other way to convey the meaning of the original text, the translator has no choice but to use interpretation. 11. For the sake of meaning, we must abandon all forms of expression in order to make ourselves intelligible; Abandon emotion in exchange for a lively translation; Give up harmony for the pleasure of translation. 12. The idea of the original text can be expressed in different forms, combined or broken up by the words used to express it, and expressed by verbs, adjectives, nouns and adverbs, as long as its essence remains unchanged（Tan Zaixi,2004:98）.&lt;br /&gt;
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==5.The revival of French translation in the 19th century and its rich translators==&lt;br /&gt;
Another high tide of French translation came in the 19th century, when a large number of English, German, Italian, Spanish and Latin literary works were translated, such as Shakespeare, Milton, Byron, Shelley in England, Goethe and Schiller in Germany, Dante in Italy, and Spanish folk songs. The most prominent remains the translation of Shakespeare's works. If the 18th century was Shakespeare's Silver age in France, the 19th was the golden age. In the 19th century, people not only worshiped Shakespeare's works, but also worshipped him, and Shakespeare fever spread throughout France. From 1800 to 1910, at least eight different translations of Shakespeare's complete works were produced in France, of which francois-Victor Hugo is the best. Hugo's father was Victor Hugo, a great writer. With Hugo's assistance and cooperation, the complete works of Shakespeare were translated between 1859 and 1867. This translation has faithfully retained the unique rhythm of the play, so it has been praised by critics as the second milestone in the history of French translation of Shakespeare's plays, even more important than Letourne's famous translation in the late 18th century.&lt;br /&gt;
Famous French translators in the 19th century included Francoise-René de Chateaubriand, Gérard de Nerval, and Charles Baudelaire. Chateaubriand is another epoch-making translator in France after Amio. His translation is faithful and beautiful. His literal translation of Milton's Paradise Lost is one of the outstanding French translations with its melodious and poetic tone. Nerval is best known for his translation of Goethe's Faust in prose style. In 1830 Goethe saw Nerval's translation and praised it as better than his original. Baudelaire, another famous poet of this period, was one of the earliest French translators of American literature and the first translator of Allan Poe. For 13 years from 1852 to 1865, he wrote, translated and commented on the complete works of Allan Poe. Baudelaire found what he was pursuing in Allan Poe's works, and believed that he and the author were in the same spirit, so that the translation could be in touch with the author. The translation was smooth and natural, just like the French creation, and was listed as an excellent classic of French prose.&lt;br /&gt;
==6.The specialization of French translation in the 20th century and the maturity of translation theory==&lt;br /&gt;
The 20th century has been the heyday of French translation theory. The characteristics of French translation in this period are: since the end of the Second World War, due to practical needs, commercial, diplomatic, scientific and technological aspects of the translation boom(Chen Shunyi,2014:6), its momentum even more than literary translation, thus forming a major content of the development of modern western translation; The study of translation theory is unprecedented and has produced translation theorists who have an important influence on the history of translation in the world. Before the First World War, the two countries used the language of power in business transactions, and French, which was considered the language of diplomacy at international conferences and other diplomatic occasions, did not have much problem in translation. However, after the end of the First World War, French lost its dominance, and English rose to take the lead with French, forming a situation in which French and English were used together. The Paris Peace Conference of 1919 was the beginning of this situation. Later, the European Union has 24 official languages, which means that translation has become an indispensable part of daily work, whether it is communication between countries in other regions or between western countries. With the increase of cooperation between countries, the need for translators is increasing. To meet this need, a number of schools specializing in training translators have been set up. One of the most prominent is ESIT（École Supérieure d'Interprètes et de Traducteurs）.&lt;br /&gt;
ESIT was founded in 1957, set up the department of Oral translation and pen translation, initially only opened several European languages, since 1972 added Chinese, now a total of English, Chinese, Russian, Arabic, French, German, Italian, Spanish, Portuguese, Danish, Swedish, Icelandic and other languages translation courses. Later, on the basis of the original two departments, the School added a department of Translation Studies, specializing in the study of language and translation theory, with the right to confer doctoral degrees. After graduation, most of the students apply for translation departments of international institutions, and some graduates apply for the work license of free translators to relevant institutions of various countries in order to work freely and not apply for the work license of free translators to international institutions. Over the years, ESIT has trained a number of senior translators for the foreign affairs departments of the United Nations, the European Community (EU) and western countries.&lt;br /&gt;
Another characteristic of modern French translation is that French translators are organized in large numbers, setting up various translation associations and establishing various translation publications. Each association has its own purpose and purpose to carry out its work effectively. There are two major translation associations in France: the Association of French Translators and the Association of French Literary Translators. The Association of French Literary Translators was founded in 1973 as a splinter from the Association of Translators. Its entry requirements are the most stringent of any of its kind. Only highly qualified translators are eligible to join. Applicants must have at least one translation, which is carefully reviewed against the original work by a special selection committee. The aims of the association are :1.to improve the quality of French literature and literary translation publications; 2.To protect the rights and interests of members in respect of copyright, remuneration and working conditions of translated works; 3.Do not participate in any political activities. Since its establishment, the association has held many lectures and lectures, and its members have published many articles on translation in such authoritative publications as le Monde and New Literature. Through this series of business activities, it has become the most distinctive and vocal translation organization in France.&lt;br /&gt;
In the first half of the 20th century, the French translation theorist J.Marouzeau is worth a book. He is a professor at the University of Paris and editor in chief of Année Philologique. In 1931, he published a pamphlet called La Traduction du Latin. The theory is as follows:1.Translation is, first of all, a skill. Maruzzo does not deny that translation is an art and a science, and that it is more of a skill. To master it, we mainly rely on rich practical experience, solid language knowledge and flexible translation methods. 2.In order to reach as many readers as possible, the translator's primary task, like linguists, educators and exegetists, is to reveal to the reader what the source text is, not what it covers. 3.The purpose of using a dictionary is not to translate, but to understand. It is a puzzling view, but it is not hard to discern the truth in it. He points out that translators must learn to use dictionaries, but must first understand what problems they are using them to solve. Latin, for example, is very different from French, he said. Latin words are not related to each other, and there is no strict word order, which must be added to a French translation to make the translation smooth. Dictionaries don't help in this respect. They define a particular word in inverse proportion to its simplicity, thus leaving the translator in a difficult position to choose between many different translations. Therefore, the main purpose of using a dictionary is not to find ready-made words, but to understand the meaning of the original text, to explain the text of the original text, and then produce a translation on this basis. At the same time, Marouzeau points out that words from different sources must be interpreted differently. 4.Translation is not guesswork. This is especially important. When encountering difficulties, the translator must carefully consider and avoid any &amp;quot;preconceived ideas&amp;quot;, because in translation, the first thought of meaning or expression is often not the most correct or best. 5.Translation must be in living language. This was a popular idea in England in the 17th and 18th centuries. Marouzeau said that to translate Latin into French, if you need to introduce an old expression, you have to turn to a living language so that the translation is alive. That is to say, the translator must ask: if the original author were alive today and writing in French, how would he express the same thing? But Marouzeau also points out that this is not a generalization, and that for some passages, especially those of Ovid, &amp;quot;a bit of antiquity is most appropriate in French translation&amp;quot;.&lt;br /&gt;
The following is an introduction to Georges Mounin, a famous French translation theorist in the second half of the 20th century. He devoted his life to the teaching and research of linguistics and translation theory with outstanding achievements. He is regarded as the founder and most important representative of linguistic theory in contemporary French translation studies. Major theoretical works include Le belles infidèles , Les problèmes théorique de la traduction, La machine à traduire: Histoire des problèmes linguistiques, Linguistique et traduction, Semiotic praxis, etc. Among them, Les problèmes théorique de la traduction is the most praised by contemporary Western translation theorists. As mentioned above, this book uses the basic theories and methods of modern linguistics to explain translation, and sets up the first clear-cut flag of linguistic school in the field of Translation studies in France.&lt;br /&gt;
The core idea of Mounin 's book is that he thinks translation belongs to linguistics, so it should be studied, understood and explained by means of modern linguistics. To establish an effective translation theory, it has to for translation and the translation of basic problems related to make a scientific understanding of these problems include the nature of translation, translation and the meaning of vocabulary, grammatical structure, the relationship between translation and the objective world, the world's image), the relationship between translation and language universals and language features, the relationship between the processing of language features in translation, and so on. Mounin 's discussion of translation theory revolves around these questions.&lt;br /&gt;
What exactly is a translation? What kind of discipline should translation studies belong to and what kind of methods should be adopted? And so on. Such problems have always been the most concerned by translation researchers but have not been properly explained. Mounin believes that translation is a special and universal language activity, which naturally belongs to the scope of linguistics research, and the research results of language science can be applied to the study of translation problems. Mounin admit that the translation of poetry, the literature such as drama, movies, many factors other than language and paralanguage does play an important role, but the basis of translation activity is mainly to the original and the translation of linguistic analysis, and applied linguistics is more than any other skilled experience can provide accurate and reliable. Of course, from another point of view, especially from the perspective of the development of translation studies as an independent discipline since the 1980s, the practice of classifying translation studies as linguistics has been outdated. However, even if translatology is regarded as an independent discipline, its independence is only relative. Since translation (interlingual and intralingual translation) necessarily involves language, translation studies should not and cannot be completely free from the influence of linguistics at any time. In this sense, Mounin's view of linguistic translation has always been positive.&lt;br /&gt;
Since the 1970s and 1980s, the interpretive school represented by Seleskovitch or the Paris School has emerged in the field of Translation studies in France and become the most remarkable and French characteristic in the post-modern period, thus forming the second major feature of the development of contemporary French translation theory. It should be said that this school does not negate the basic idea of the school of linguistics to study linguistic phenomena, but only opposes the pure linguistic orientation of the school of linguistics and focuses on the research method of form. Interpretive theory holds that translation is a linguistic act, but it requires the participation of extralinguistic knowledge. Whether it is diachronic linguistics in the 19th century, synchronic descriptive linguistics and contrastive structural linguistics in the 20th century, or the later transformational generative grammar theory, it ignores the pragmatic context as the main component of language communication, so it cannot reasonably explain translation problems. Based on practice, the theory of interpretation studies translation as a linguistic act, and interprets and conveys the meaning of language from linguistic factors, cultural factors, and extralinguistic factors, so as to give a scientific and reasonable explanation to the reality of translation.&lt;br /&gt;
An important feature of interpretive translation theory is to reveal the essence of translation as communicative behavior from practice. Interpretivism holds that translation is a kind of linguistic act, which, like language use, must be supported by non-linguistic knowledge. However, as an act, the object of translation is not language, but meaning, which is the communicative meaning of the text. The output of meaning requires the combination of nonverbal thoughts and signs, and the reception of meaning requires the conscious behavior of the addressee. The arrangement of words is only a means of meaning formation for the originator of words. The understanding and grasp of meaning need to get rid of the original language form. The acquisition of meaning is instantaneous, not staged. Meaning is not the sum of words, but an organic whole, and the comprehension of meaning is completed at the level of discourse.&lt;br /&gt;
According to the interpretive theory, language and thought are separated in the translation of translators. Language and thought are not exactly the same thing, but there is a constant two-way communication between them. Thought waves can be transformed into language, and language can be transformed into thought waves. Human knowledge and experience do not reside in the brain in the form of words.&lt;br /&gt;
Interpretive theory also holds that understanding requires the participation of cognitive knowledge; The process of comprehension is the process of interpretation. Interpretation is the prerequisite of translation, and translation cannot be carried out without interpretation. Translation, on the other hand, is interpretation. Interpretive translation is a translation of meaning equivalence, which is established between texts. If a translation is to be successful, it is necessary to seek the overall meaning equivalence between the source text and the target text, and the meaning equivalence needs to achieve cognitive and emotional equivalence. Translators use their own abilities to organically combine the cognitive content and emotional content of the source text into an indivisible whole, and then successfully express it. Only in this way can the equivalence of meaning be achieved, which is the essence of the interpretive theory.&lt;br /&gt;
The interpretive theory also focuses on fidelity. The translator cannot interpret at will, and his interpretation and understanding can only be faithful to the actual content of the speaker. Although the interpreter interprets in his own words, he conveys the meaning of the speaker and imitates the speaker's style. The interpreter should understand the overall style of the speech, and tend to be consistent with the speaker, should be as far as possible to get rid of the constraints of words, in order to accurately reflect the original style.&lt;br /&gt;
== Conclusion==&lt;br /&gt;
There may be many deficiencies and omissions in the simple combing of French translation history, but as a powerful and long-standing western developed country, France's translation process and theory have great research and reference significance for China and the world. The world is still developing, so is translation. With the development of modern science and technology, people explore translation more deeply, and new theories are constantly put forward. Therefore, we should seize the trend of the times, base ourselves on China, look at the world and seriously study these excellent theories.&lt;br /&gt;
== References==&lt;br /&gt;
[1]Chen Shunyi陈顺意（2014）.法国翻译理论源流Sources and schools of French translation theory.法国研究The French Study.&lt;br /&gt;
[2]Tan Zaixi谭载喜（2004）.西方翻译简史A Short History of Translation in the West.商务印书馆The Commercial Press.&lt;br /&gt;
[3]Xu Jun许均,Yuan Xiao一袁筱一(1998).当代法国翻译理论Contemporary Translation Study in France .湖北教育出版社Hubei Education Press.&lt;br /&gt;
[4]Liu Mingjiu柳鸣九,Zheng Kelu郑克鲁,Zhang Yinglun张英伦(1979).法国文学史History of French Literature,人民文学出版社People's Literature Publishing House&lt;br /&gt;
[5]Xie Tianzhen谢天振（2009）.中西翻译简史A brief history of Chinese and Western translation,外语教育与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
=李新星A Comparative Study on The Translation history of Modern Chinese and Korean Literature under the Background of &amp;quot;Western Learning&amp;quot; (1894~1949) =&lt;br /&gt;
==Abstract==&lt;br /&gt;
The spreading of Western learning to the east is an extensive and far-reaching influence of modern Western culture on eastern civilization, which started from translation as a means of cultural communication.Scholars in China and Korea have always recognized the influence of the eastward spread of Western learning on the development of translation in their countries.However, most studies on modern and contemporary translation take the country as the boundary and rarely talk about the comparison and exchange between the two countries.In fact, although there are some individual differences between Chinese and Korean translation in modern times due to different national conditions, there are also many similarities and connections worthy of attention and research.From the perspective of translation history, this paper will explore the history of literary translation in China and Korea under the trend of western learning to the east, compare the commonness and individuality of the two countries' literary translation practices, explore the historical information behind the translation practices, and finally achieve the purpose of restoring the history of cultural (literary) exchanges between the two countries.&lt;br /&gt;
&lt;br /&gt;
The spreading of western culture to the East was an extensive and far-reaching influence of modern Western culture on Eastern civilization, resulted from translation as a means of cultural communication.Scholars in China and Korea had always recognized the influence of the eastward spread of Western learning on the development of translation in their countries. However, most studies on modern and contemporary translation take the country as the boundary and rarely talk about the comparison and exchange between the two countries.In fact, regardless of some individual differences between Chinese and Korean translation in modern times due to different national conditions, there are also many similarities and connections worthy of attention and research.From the perspective of translation history, this paper will explore the history of literary translation in China and Korea under the trend of western learning to the East, compare the commonness and individuality of the two countries' literary translation practices, dig out the historical information behind the practices, and finally achieve the purpose of restoring the history of cultural exchanges between the two.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:23, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Key words==&lt;br /&gt;
History of literary translation；“Western Learning”;China;Korea&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
西学东渐是近代西方文化对东方文明的一次广泛而深远的影响，而这影响首先是从作为文化交流的手段———翻译开始的。一直以来，中韩两国学者都认同西学东渐对本国翻译发展的影响，但现有的研究在探讨近现代翻译时大多以本国为界，很少谈及两国比较和交流。而实际上，虽然因为国情不同，中国与朝鲜半岛的近现代翻译存在一定的个体差异，但同时也有很多相似点和联系点值得关注和研究。本文将从翻译史视角出发，窥探西学东渐时代潮流下中韩两国文学翻译史的面貌，比较两国文学翻译实践的共性和个性，发掘翻译实践背后的历史信息，最终达到还原两国文化 (文学) 交流史的目的。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
文学翻译史；“西学东渐”；中国；朝鲜（韩国）&lt;br /&gt;
&lt;br /&gt;
==1.Introduction==&lt;br /&gt;
The spreading of Western learning to the east is an extensive and far-reaching influence of modern Western culture on Eastern civilization.Late 19th century to early 20th century,When the West had modernized and gradually replaced the East as the world's dominant power,The three East Asian countries ( China, Japan and Korea), which had been sleeping for a long time, were gradually awakened and embarked on the &amp;quot;journey&amp;quot; of modernization.Among them, In order to achieve a rich country and a strong army, Japan left Asia and entered Europe,Take the lead in taking a series of measures to actively learn from the West and introduce advanced ideas and culture.The main measure is to develop the translation of western literature.Under the influence of such a large environment, the translation of overseas literature in China and the Korean Peninsula has also set off a boom.It can be said that the influence of the eastward spreading of Western learning on the modernization of East Asia began with translation as a means of cultural exchange.&lt;br /&gt;
Some scholars have pointed out that in the process of modernization in East Asia represented by Japan,Translation plays an important role.Without translation, East Asia would not have been able to open the door to modernization.This is also true in modern China and the Korean Peninsula.It can be said that after entering the modern society, the cultural exchanges between the two countries were continued through translation --&amp;quot;A history of translation is not only a history of cultural exchange, but also a history of the dissemination of ideas&amp;quot;.As we all know, the study of translation history is a &amp;quot;basic project&amp;quot; in the construction of translation discipline.Behrman, a famous translator and translation theorist, once pointed out that &amp;quot;the composition of translation history is the first task of modern translation theory, and self-reflection is the establishment of itself&amp;quot; .The history of literary translation is an important part of the study of translation history and an indispensable factor in the investigation of a country's literature and even the whole cultural background in a particular period.&lt;br /&gt;
In view of the above analysis, the author believes that in order to have a macro and in-depth understanding of the cultural exchanges between China and Korea in modern times.It is necessary for us to make a comparative study of literary translation between the two countries during this period (1894 ~ 1949).Writers believe that only by putting literary translation activities into a larger social and historical context can we have a clearer understanding of the translation practices of the two countries at that time.Therefore, from the perspective of translation history, this paper will explore the history of literary translation in China and Korea under the trend of western learning to the east, compare the commonness and individuality of the two countries'literary translation practices, explore the historical information behind the translation practices, and finally achieve the purpose of restoring the history of cultural (literary) exchanges between the two countries.&lt;br /&gt;
&lt;br /&gt;
The spreading of Western learning to the east exerted an extensive and far-reaching influence on Eastern civilization.In the late 19th century to early 20th century,when the West had modernized and gradually replaced the East as the world's dominant power,the three East Asian countries (China,Japan and Korea),which had been sleeping for a long time, were gradually awakened and embarked on the &amp;quot;journey&amp;quot; of modernization. In order to attain prosperity, Japan left Asia and entered Europe, taking a series of measures to actively learn from the West and introduce advanced ideas and culture through the media of translation.Under the influence of such a univerasl situation, the translation of overseas literature in China and the Korean Peninsula had also set off a boom.It could be said that the influence of the eastward spreading of western learning on the modernization of East Asia began with translation as a means of cultural exchange.&lt;br /&gt;
Some scholars have pointed out that translation plays an important role in the process of modernization in East Asia represented by Japan.Without translation,East Asia would not have been able to open the door to modernization.This is also true in modern China and the Korean Peninsula.It can be said that after entering the modern society, the cultural exchanges between the two countries were continued through translation --&amp;quot;A history of translation is not only a history of cultural exchange, but also a history of the dissemination of ideas&amp;quot;.As we all know, the study of translation history is a &amp;quot;basic project&amp;quot; in the construction of translation discipline.Behrman, a famous translator and translation theorist, once pointed out that &amp;quot;the composition of translation history is the first task of modern translation theory, and self-reflection is the establishment of itself&amp;quot;.The history of literary translation is an important part of the study of translation history and an indispensable factor in the investigation of a country's literature and even the whole cultural background in a particular period.&lt;br /&gt;
In view of the above analysis, the author believes that in order to have a macro and in-depth understanding of the cultural exchanges between China and Korea in modern times.It is necessary for us to make a comparative study of literary translation between the two countries from 1894 to 1949. Only by putting literary translation activities into a larger social and historical context can we have a clearer understanding of the translation practices of the two countries at that time.Therefore, from the perspective of translation history, this paper will explore the history of literary translation in China and Korea under the trend of western learning to the East, compare the commonness and individuality of the two countries' literary translation practices, explore the historical information behind the practices, and finally achieve the purpose of restoring the history of cultural (literary) exchanges between the two countries.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:34, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==2. The origin and development of modern translation in both countries ==&lt;br /&gt;
After being opened to the outside world, western civilization flooded in. China and North Korea, which had been pursuing the policy of &amp;quot;closing the door to the outside world&amp;quot;, began to &amp;quot;open their eyes to the world&amp;quot;.From the government to the people, there has been an upsurge in the introduction of advanced Western civilization.Translation plays an important, even decisive role in this process.&lt;br /&gt;
====2.1The historical evolution of Modern Translation in China====&lt;br /&gt;
As is known to all, Among the three East Asian countries, China is the first to pay attention to the West and understand and learn the West through translation.In the 1860s, after the Westernization Movement, a climax of modern Chinese translation began slowly.Strictly speaking, this translation period can be further divided into two stages, namely, with the Sino-Japanese War of 1894 as the dividing line, the early stage was the translation period dominated by westernization school, and the later stage was the translation period dominated by reformists.If the translation during the Westernization Movement was the primary stage of modern Western learning translation in China, there were still many problems, then the translation activities led by reformists such as Kang Youwei, Liang Qichao and Yan Fu had a greater development in terms of scale, significance and function.From the perspective of translation history, they set up translation institutes and translated western books widely(Especially those that had a great influence on Meiji Restoration in Japan.)Training translation talents, etc.Its scale, breadth of subjects, quantity and quality are unmatched by translation in the Westernization period.It should be noted that since the 1880s, China's interest in learning from the West has shifted from science to politics, education system and so on.In the late Qing Dynasty and early period, literary works gradually became the main object of translation activities.In the minds of the Vixinists represented by Liang Qichao, novels have become the most appropriate tool for political reform, popular enlightenment and the modernization of the country.Thus, beginning in the late 19th and early 20th centuries,Foreign literature has been widely translated into China, and communication channels include not only modern media such as newspapers and magazines, but also single-line books and large-scale translation literature series, which have also produced a series of arguments and discussions on translation methods and techniques.Modern Chinese translation has also entered a new period, that is, from the Ming and Qing period of scientific and technological translation as the mainstream gradually to culture / literature / literary translation as the core of the translation activities period.Overall, the translation of modern foreign literature in China from the end of the 19th century to the period 1949 can be broken down into the following three stages.&lt;br /&gt;
The first stage was from the late Qing Dynasty and the early Republic of China to the May 4th Movement in 1919.In December 1898, Liang Qichao translated The Japanese political novel The Adventure of The Beautiful Woman in Qingyi Daily. In 1900, Zhou translated one of the most influential works in Japanese political fiction, Yano Ryuki's &amp;quot;On The Classics of America&amp;quot;.Since then, many Japanese political novels have been translated and introduced to China.After a more concentrated translation of political novels, other genres, such as history, science and the popular detective novels, have also been introduced.After 1907, a variety of modern literary magazines sprang up, and a large number of translated novels were published in these magazines in serial form, among which the serialized translated novels in magazines such as &amp;quot;Novel Forest&amp;quot; and &amp;quot;New Novel Cluster&amp;quot; even occupied absolute space, forming the first climax of foreign novel translation.However, it should be emphasized that the translation of literary works in this period was still in the exploratory stage,Although there are a large number of works, there are problems in the selection of works, translation skills and strategies.&lt;br /&gt;
The second period is 1916 to 1936. This period can be further subdivided into the May Fourth Movement period and the Left Coalition Period.With the development of the New literature movement, Chinese literary translation has entered the most glorious period in the history of translation.Compared with the late Qing Dynasty, literary translation in this period was larger in scale, higher in quantity and quality, and its influence was unprecedented.It is worth emphasizing that almost all the heavyweights in the history of modern Chinese literature have participated in the translation and introduction.In addition to translation works, they also introduced various literary and artistic thoughts, and actively explored and discussed translation methods and theories.Especially with their active advocacy and hard work, The translation industry in China has been closely integrated with the struggle against imperialism and feudalism.It completely changed the chaotic and unprincipled state of translation circles before the May 4th Movement.In addition, it was from this time that China's translation of Soviet/Russian literature gradually reached its peak.It can be said that the mainstream of Chinese literature translation in the 1930s was Marxist literary trend of thought and progressive literature (especially Soviet/Russian literature).Of course, in addition to Russian/Soviet literature, this period has translated the literature of Britain, The United States, Japan, France, Germany and southeast Northern Europe and Asia.&lt;br /&gt;
The third period is from 1937 to 1949. After the war of Resistance against Japan broke out.The translation community, like the rest of the country, has concentrated all its efforts on the cause of saving the nation from extinction and striving for liberation.Therefore, the pace of development of Translation in China slowed down during this period.In spite of this, Chinese writers and translators have overcome various difficulties and translated and published many excellent foreign literary works.During this period, there was a wide range of translations, ranging from western European classical literature to war literature at that time, and even ancient Greek literature and Jewish literature.In terms of genres, there are novels, poems, plays, prose and even some academic works on literary history.A number of famous translators in the history of Chinese translation literature, such as Zhu Shenghao, Ge Baoquan, Fu Lei, Liang Shiqiu, Lin Yutang and so on, are active in literary translation.Of course, the biggest characteristic of this period was the translation of the Soviet Union and other countries anti-fascist war works, in particular, the establishment of the revolutionary translation group &amp;quot;Times Press&amp;quot;, published the revolutionary translation publication &amp;quot;Soviet Literature&amp;quot;, a large number of Soviet literary and artistic works.&lt;br /&gt;
&lt;br /&gt;
====2.2 The situation of modern and contemporary Translation on the Korean Peninsula and the Influence of China==&lt;br /&gt;
==&lt;br /&gt;
From the end of the 19th century, western civilization began to flow into East Asia on a large scale, and Korea was further plunged into the situation of internal troubles and foreign aggression. Faced with the complicated situation at home and abroad, the enlightened intellectuals of Korea further realized that translating Western books was an important task at that time. As early as 1886, The &amp;quot;Seoul Weekly&amp;quot; published by Powen Bureau had a column specially emphasizing the importance of translation, and proposed to establish a special translation agency to translate foreign books. And six years later, another important newspaper of the day 《Huangcheng News 》also commented, stressing that translation is an important means to enrich the country and strengthen the army and realize modern civilization. We call for the establishment of specialized translation institutions under the guidance of the government &amp;quot;to strengthen the guidance and management of translation. On behalf of this, not only all kinds of news media actively propagated, but also some intellectuals at that time called for the realization of civilization and the prosperity of the country and the strength of the army by translating overseas literature and learning advanced western experience. As a result, the Korean Peninsula at that time set off a boom in the translation of overseas works, especially literary works. Of course, as in China, one of the preconditions for translating Western books in the Korean Peninsula was the development of modern media, which provided a platform for the dissemination of written works at that time. After the 1895-1895 revolution, modern schools were established one after another, and special language schools were set up, which played a positive role in understanding overseas and spreading Western culture, and reserved talents for the translation and introduction of foreign literature.&lt;br /&gt;
Generally speaking, the history of translation of foreign works on the Korean Peninsula from 1895 to 1949 can be divided into the following five stages: Patriotic enlightenment period (1895-1910), translation literature awakening period (1911-1919), translation into the proper period (1920-1935), dark Period (1936-1945), Regeneration period (1945 ~1949). We can refer to Kim Byung-chul's Studies on the History of Modern Korean Translation Literature, the earliest and only work on the history of modern Korean Translation literature. However, it is worth noting that Kim Byung-chul's pioneering work has carefully combed and studied the translation history of modern Korean literature from both macro and micro perspectives. However, there is no introduction to the translation of Chinese and Japanese literature. In fact, in the whole modern and modern period, although the communication between China and South Korea seems not as active and close as that in ancient times, the spiritual, political and cultural ties that have connected the two countries for thousands of years have not disappeared overnight. This point can be seen from the early stage of The History of Korean translated literature with China as the medium of translation activities and the late continuous translation of Modern Chinese literature.&lt;br /&gt;
The first stage (1895-1910) is the period of patriotic enlightenment，The main function of translation in this period was &amp;quot;enlightenment of civilization, independence, social and political enlightenment&amp;quot;, and the translation activities inevitably had obvious purpose and utility. The patriotic enlighteners represented by Xuan CAI, Zhang Zhiyuan, Shen Caihao and Zhou Shijing received Chinese education from childhood and were deeply influenced by Confucian culture. Most of the works translated from The Korean Peninsula during this period were biographies of great men, history of the war, history of independence and geographical history. Almost all the translated works are from Chinese and Japanese versions. According to statistics, there were about 37 separate editions of such works translated in the Korean Peninsula before 1910, among which 16 were based on Chinese translations, not including those published in newspapers and magazines. In particular, it is worth emphasizing the important works in the early history of Korean literature, such as The History of The Fall of Vietnam, the Biography of the Three Masters of the Founding of Italy, and so on.The Biography of the Patriotic Lady was introduced to the Korean Peninsula based on the Chinese version. In addition, the Japanese Ryoki Yano's Korean single version of The Book On The Nation and the United States (1908, Translated by Hyun Gonglian) was based on zhou Kui's Chinese version in 1907. It is also highly likely that The first western literary work to be officially translated into Korea, Robin Sun Crusoe (1908, translated by Kim Chan), was translated into Chinese. In a word, China's influence cannot be ignored in the history of translated literature during the Korean civilization period.&lt;br /&gt;
The second stage (1910 ~ 1919) is called &amp;quot;the Awakening period of Translated literature&amp;quot;. The translation activities of this period did have many characteristics different from those of the previous period. For example, many translations clearly identify the original author and translator; There appeared some literary magazines that paid attention to translation, such as Youth, New Star, Youth, Light of Learning and New Wenjie.“Three Lights&amp;quot;, and &amp;quot;Tai Xi Literature and Art News&amp;quot; founded in 1918 with the main purpose of translating foreign literary works; At the beginning, it was consciously emphasized that translation should be based on the original text rather than through a third language. Translation methods also began to emphasize the separation from the earlier simple emphasis on the transmission of content translation, summary translation, abbreviated translation, etc. It puts forward the importance of respecting the original text and being faithful to the original text, and actively practices it. Kim Il and other important figures in the history of Korean translation literature have officially started their translation activities. And so on. All these indicate that the translation activities on the Korean Peninsula have &amp;quot;awakened&amp;quot; and are ready for further progress on the right track.&lt;br /&gt;
Generally speaking, since 1908, when Juvenile was first published，The Translated literature of the Korean Peninsula further broke away from the original utilitarian and purist nature and began to enter the era of &amp;quot;pure literature and art&amp;quot; translation. Since then, a great deal of Western literature has been translated into The Korean peninsula, and the quality of translation in this period is significantly higher than that of the Patriotic Enlightenment period. In addition to new novelists such as Lee Sang-hyup, Lee Hae-jo and Ahn Guk-seon, the translators also include famous figures in the history of literature such as Choi Nam-seon, Hong Myung-hee and Lee Kwang-soo, as well as some publishers and media workers. It is worth noting that some scholars believe that literary exchanges between China and Korea ended after Japan annexed the Korean Peninsula in 1910. This view is obviously somewhat arbitrary. According to incomplete statistics, at least 20 Chinese translations were introduced to the Korean Peninsula through the medium of Chinese translations, although the translation activities based on Chinese translations were not as active as in the Enlightenment period. These works include not only reprints of Chinese vernacular novels in Ming and Qing Dynasties, but also western novels based on Chinese translations. Among these Chinese translations of western novels, 8 are from the large western literature translation series &amp;quot;Shuobo Congshu&amp;quot;, which was planned and published by the Shanghai Commercial Press in 1903. Choi Chan-sik, a famous writer of new novels at the time, recalled that recalled that he began writing a new novel after translating a book in the &amp;quot;Shaobo Series&amp;quot; published in Shanghai, China. These data show that even at a time when Japan's control over the Korean Peninsula was increasing, China's translation and media activities still have a certain influence on Korean intellectuals. In other words, under the new historical conditions, the cultural exchanges between the two countries are still struggling to continue in a new form.&lt;br /&gt;
The third stage (1920-1935) marked the beginning of joseon's translation literature. According to Kim byung-chul's statistics, at least 600 foreign literary works have been translated to the Korean Peninsula in various forms since the 1920s, Genres include fiction, poetry, drama, essays, fairy tales, and some literary criticism, Countries involved Britain, the United States, Germany, France, Russia, India and so on. Of course, this statistic does not include the translation of Chinese literature. In fact, after the 1920s, one of the biggest changes in the history of Sino-Korean translation was the movement that was then in China and the new literary works began to be translated and introduced to the Korean Peninsula. According to incomplete statistics, about 30 kinds of modern Chinese literary works including novels were translated and translated in the Korean Peninsula during the colonial period (In addition to the only collection of Chinese Short Stories during the colonial period), 16 plays, 41 poems, 3 essays, 1 fairy tale, etc., and more than a dozen literary criticism. If we add the Chinese classical literature translated in this period, we can say that after 1920, the translation of Chinese literature in the Korean Peninsula is relatively comprehensive and continuous, which should not be excluded from the history of Korean translated literature.&lt;br /&gt;
The fourth stage (1936-1945) was a dark period for the entire Korean Peninsula. In terms of translated literature, Japan has strengthened its control over public opinion and media by strengthening its policy of suppressing national language, The flood of Japanese books, coupled with the growing economic collapse on the Korean peninsula, has put pressure on the publishing industry and reduced the number of magazines, Access to foreign books has also been blocked, resulting in a huge blow to translation activities on the Korean Peninsula. This was the darkest period in the history of Translated literature on the Korean Peninsula. Although there were sporadic translations of Chinese literary works, they only catered to the political needs of the Japanese colonial government and chose some works that were irrelevant to politics and even covered up and beautified its militarist ambitions. In 1940, for example, Three Thousand Miles magazine ran a special collection of &amp;quot;New Chinese literature,&amp;quot;The content of the works is either daily life, love or traditional art, which has nothing to do with politics, and the original translations are entirely dependent on Japanese translations. The content of the works is either daily life, love or traditional art, which has nothing to do with politics, and the original translations are entirely dependent on Japanese translations. &lt;br /&gt;
In the fifth stage (1945-1949), the Korean Peninsula was finally liberated from Japanese colonial rule. The country was in ruins and all walks of life seemed to be full of hope, but at the same time, it was in a sudden chaos. At this time, translation has gradually entered the recovery period. From the point of view of countries, the United States and the Soviet Union were the most translated works, which obviously reflected the political situation and ideology at that time. However, the translation and study of modern Chinese literature also ushered in a brief bright period. Many researchers from academic schools joined the ranks of translation, and the translation of their works also moved toward specialization and systematization, with the emergence of selected Modern Chinese Short Stories (1946), Short Stories of Lu Xun (1946), Selected Modern Chinese Poems (1947) and other individual editions. He even published the history of Modern Chinese Literature (1949), the first book of Chinese studies in Korea. Compared with the colonial period, translation at this time was no longer subject to many restrictions, and further got rid of the early enlightenment and utilitarian color in nature. It began to attempt to approach modern Chinese literary works from the perspective of aesthetics and pure literature and carried out systematic and professional research. Translators seem to want to make up for the many regrets of the colonial period and are eager to translate and study modern Chinese literature in an all-round way. Unfortunately, this boom came to an abrupt end after the outbreak of the war in 1950, and The cause of Chinese literary translation fell into recession again.&lt;br /&gt;
&lt;br /&gt;
==3. Differences and Similarities in the translation history of Modern Chinese and Korean literature==&lt;br /&gt;
Differences and similarities in the translation history of Modern Chinese and Korean literature&lt;br /&gt;
As is known to all, since the 1970s, translation studies have achieved a &amp;quot;cultural&amp;quot; shift, and the scope of research has expanded from the purely linguistic category to the non-linguistic category of culture, ideology, power relations, politics and so on.The literariness and thinking of literary works determine that literary translation has the dual orientation of ideology and poetics.Therefore, the study of literary translation should be connected with the socio-historical background and the poetic background so as to analyze and explain the important translation phenomena in depth.Throughout the history of modern literary translation in China and South Korea, we will find that the biggest similarity is that the &amp;quot;cultural political practice&amp;quot; (Venuti) of translation has always been controlled by ideology.Under the environment of western learning spreading eastward, one of the main social ideologies in East Asia was&amp;quot;Modern transformation&amp;quot;.As an important means of modernization transformation, translation not only has an impact on the political and economic development of China and Korea, but also plays an important role in the two countries' acceptance of Western civilization, dissemination of new knowledge, formation of new culture, and the development of their own language and literature.In the process of sorting out the translation history of modern Chinese and Korean literature, we can clearly find that there are many similarities and intersections, and of course there are individual differences.Whether similarities or differences arise, some of them are related to the social ideology of the two countries, and some are related to the influence of the translator's personal ideology.It can be said that ideology permeates all aspects of modern translation in both countries, especially the change and development of social ideology plays a significant role in the evolution of translation.Below, this paper will compare and analyze the similarities and differences of literary translation between the two countries from several aspects.&lt;br /&gt;
(1) The nature and motivation of translation&lt;br /&gt;
In terms of the nature of translation, the modern translation activities in China and South Korea have obvious utilitarian, effective and political characteristics.Before the formal launch of literary translation, China had gone through a long stage of translating and introducing western scientific and technological books for the purpose of learning from the West, strengthening industrial development and achieving a prosperous country and a strong army.After the failure of the Reform movement of 1898, the development of Chinese foreign literature translation was in fact based on the translation of novels.One of the reasons is that Liang Qichao, the leader of the Reformists, put forward the slogan of &amp;quot;novel revolution&amp;quot; and advocated the translation of political novels, blowing the horn of literary translation. At the same time, a group of literary translators represented by Lin Shu actively engaged in translation practice, which also promoted the development of literary translation at that time.At that time, the purpose of literary translation was also to enlightening the people, reforming the society and giving play to the unique role of literary thought in shaping the &amp;quot;consciousness of the world&amp;quot;.After the May 4th Movement, political demands still played a leading role in the selection of translators despite literary factors.On the other hand, the Korean Peninsula, because of the late opening of port and the depth of the country's internal troubles and foreign aggression, had no time to translate western literature as China and Japan did in terms of promoting industrial development and enriching the country and strengthening its armed forces.For them, translation is first of all a means of understanding the outside world, and its direct purpose is to get rid of the control of foreign forces and achieve independence.Therefore, the modern translation of the Korean Peninsula did not go through the stage of large-scale scientific translation, but from the very beginning, a part of social science translation and a large number of literary translation, including political novels, biographies of great men and so on.In particular, the translation of literary works has always occupied an important position in the modern translation of the Korean Peninsula.It is worth mentioning that liang Qichao had a great influence on literary translation during the Period of Korean Civilization.It was under his influence that a large number of political novels were translated and introduced to the Korean Peninsula, and played an important role in the transformation of thoughts and concepts in the Korean Peninsula in the modern period and the emergence and development of modern literature.Of course, after entering the period of colonial rule, the Translation of the Korean Peninsula became more colonial,In many ways, it is more influenced and restricted by Japan. Although there is also the pursuit of literature, the final translation inevitably has a strong political nature.In a word, the translation activities in the first half of the 20th century in both countries are determined by both literary factors and social ideology, but in the final analysis, the latter always plays a dominant role.Due to the special historical environment and similar fate, translation in both countries has strong utilitarian, utility and political characteristics to a large extent, which are the manifestation of the &amp;quot;manipulation&amp;quot; of translation by the ideological form.&lt;br /&gt;
(2) The source of the translation&lt;br /&gt;
There is no doubt that in all stages of modern translation history, the sources of translated works in the two countries are closely related to Japan, but there are differences in the specific range of sources and degree of dependence on Japan.In fact, before the late Qing Dynasty, a large number of Western scientific and technological books translated in China were basically based on the original Western language.In the translation period dominated by the Reformists, due to the vigorous development of Japanese translation and the characteristics of easy learning and understanding of Japanese, Liang Qichao and Kang Youwei advocated the translation of foreign works from Japanese. It was not until then that A large number of Japanese translations were carried out in China.&lt;br /&gt;
After the May 4th Movement, Translation in China flourished, with translators of various languages appearing in large numbers and many intellectuals participating in translation activities.At this time, the original versions of Chinese translations are also varied, including Japanese and English versions, and many are directly translated from the original.On the other hand, due to the influence of history, during the whole period of the Korean Peninsula, the translation of foreign books mainly consisted of Japanese and Chinese versions, and few of them were directly translated from the original.After entering the period of colonial rule, due to Japan's rule and influence on the Korean Peninsula in various fields, there were fewer and fewer translation cases based on The Chinese version, and the Japanese version took the dominant position.However, due to the increasing number of intellectuals focusing on Western language and literature (such as the emergence of the &amp;quot;Overseas Literature School&amp;quot; in 1926), the call for translation based on the original text became stronger and stronger.After all, most of the Korean intellectuals of the &amp;quot;overseas literary school&amp;quot; studied in Japan,Therefore, although they put forward the slogan of &amp;quot;translation from the original text&amp;quot;, their translation activities are still directly or indirectly influenced by the Japanese knowledge system.In short, if the modern times of East Asia are &amp;quot;modern times of translation&amp;quot;, as a bridge of translation in East Asia, Japanese translation is based on the original text or English.In China, there are both literal translation of the original text and retranslation of English and Japanese versions. On the other hand, Korean translation sources are a little bit unitary, basically retranslating some Chinese and most Japanese versions.However, from another point of view, the translation path of the Korean Peninsula at that time was the most complicated among the three countries, which could be the path of &amp;quot;Japanese → Korean&amp;quot;, &amp;quot;Western → Chinese → Korean&amp;quot; or even &amp;quot;Western → Japanese → Chinese → Korean&amp;quot;.&lt;br /&gt;
At that time, many Korean intellectuals were fluent in both Chinese and Japanese, so it was difficult to refer to only one source in the translation process.For example, The book On The Classics and The United States (1908), marked with the &amp;quot;translation&amp;quot; of Xuan Gonglian, was published with reference to both the Japanese and Chinese versions.Kim Kyo-je, a famous writer of new novels in the early modern period, translated or reprinted 11 novels at least four were translated to the Korean Peninsula through the path of &amp;quot;Western → Chinese → Korean&amp;quot;;While Li Haichao translated Iron World (1908), the translation path is &amp;quot;Western → Japanese → Chinese → Korean&amp;quot; .&lt;br /&gt;
In Korea at that time, this kind of double, triple or even multiple retranslation is very common. For this reason, the modern Korean Peninsula is also called &amp;quot;retranslated modern times&amp;quot; by scholars.&lt;br /&gt;
(3) Topic selection and content of the translated work&lt;br /&gt;
Corresponding to the nature, motivation and characteristics of translation, there are not only similarities and intersecting points, but also their own characteristics in the topic selection of translated works.For example, the pilgrim's Progress, a religious novel by English novelist John Bunyan (1628-1688), was among the first western literary works translated in both countries.&lt;br /&gt;
This fact reflects the important role of western missionaries in the translation history of the two countries.Aesop's Fables is also one of the earliest and most frequently translated western literary works in both countries.Aesop's Fables was translated many times in both countries and included in the textbooks of the time as a children's book.After entering the modern and contemporary period, both countries highly respected historical and biographical works and political novels, and had a period of concentrated translation.For example, political novels such as &amp;quot;A Journey with the Wind&amp;quot;, &amp;quot;Jingguo Meiyu&amp;quot; and &amp;quot;Iron World&amp;quot; have been translated into Chinese and English respectively.In addition, many historical and biographical works (especially the history of subjugations) were translated into The Korean Peninsula through Chinese media at that time, such as The Founding of Switzerland and Fifteen Little Heroes. As well as liang Qichao's writings or translations of the hundred Days' Coup, The History of the Fall of Vietnam, the biography of the three Heroes of the Founding of Italia, The biography of Madame Roland, and the biography of Hungarian patriot Gasus, etc.History books such as A New History of Tai Xi, a Brief History of Russia, A War in the Middle East and modern History of Egypt were also translated from Chinese versions. In the whole period of civilization, the Korean Peninsula concentrated on the translation of history, biographical works and political novels, although there is no lack of Japanese influence, but obviously The Influence of China can not be ignored.Due to reasons such as politics, current affairs and the market, the two countries in politics, history and biography of before and after the translation in the first decade of the 20th century gradually into the low tide, and other types of novels, such as science fiction, detective novels, western pure literary fiction and gradually be translated a lot, at the same time, poetry translation have greater development.It is worth mentioning that translation in both countries reached a new climax after the late decade of the first decade of the 20th century.In terms of the number and diversity of genres, China is far more diverse than The Korean Peninsula, but there are some interesting intersections in the literary translation topics of the two countries, such as Shakespeare, Hardy, Stevenson and Conan Doyle in The UK, Tolstoy, Gorky and Chekov in Russia, Tagore in India,Norway's Ibsen and other works have had a great influence in both countries.It is worth mentioning that there are obvious differences between the two countries in the topic selection of translated works as follows. The first is the translation of Japanese literature&lt;br /&gt;
The problem. As we all know, Japanese literature plays a very important role in the history of Chinese translation of foreign literature in the 20th century.On the Korean Peninsula, although the influence of Japanese literature is beyond doubt, and the translation of Japanese literature in the first half of the 20th century can be said to run through the whole modern translation activities of the Korean Peninsula, but the translation of Japanese literature in the Korean Peninsula itself is very few.&lt;br /&gt;
The reasons are mainly related to the special political and historical background of the Korean Peninsula and the control and infiltration of Japanese language in the Korean Peninsula after entering the colonial period, as well as the role of national emotional factors.Secondly, the translation and introduction of the other side's literature. In the first half of the 20th century, the literature of the two countries was not the main target of translation in each other's country, but this does not mean that there is no overlap between them. On the whole, the Korean Peninsula paid more and deeper attention to Chinese literature than China did to Korean literature during this period.After entering the modern society, under the extremely complicated and difficult cultural environment, the Korean Peninsula continued to translate Chinese vernacular novels and some classical poems in the Ming and Qing dynasties, and at the same time carried out a relatively concentrated translation of Liang Qichao, the pioneer of Chinese novel revolution. However, what is more noteworthy is his continuous translation and introduction of New Chinese literature, which started in the second half of the 1910s.Due to the special historical and geographical relationship, Korea is the first country in the world to notice China's new cultural movement except Japan. At that time, many magazines and newspapers on the Korean Peninsula introduced and reported the New Chinese literature. Some Korean intellectuals had deep feelings about the innovative atmosphere in The Chinese literary circle and hoped to provide necessary reference for the improvement and innovation of their own literature through the translation and introduction of The new Chinese literature.In a word, during the Period of Japanese rule, the Translation and introduction of modern Chinese literature in The Korean Peninsula was quite comprehensive, and many famous writers and works in the history of Chinese literature were involved in the topic selection, which played an important role in the study of Chinese literature in Korea. On the contrary, China's translation of Korean literature at that time was very limited, mainly due to the concern of &amp;quot;weak and weak ethnic literature&amp;quot;, and also influenced by the war ideology of anti-japanese and national salvation, nationalism. However, in the huge history of modern Chinese literature translation, the translation of Korean literature is just a drop in the ocean and has not received enough attention. All in all, the depth and breadth of the translation of each other's works is extremely unbalanced.&lt;br /&gt;
(4) The translator's main body, translation strategies and methods&lt;br /&gt;
There are also similarities between the two countries on the subject of translators in the history of modern translation literature. In the early stage of translation activities, western missionaries played a great role. Later, famous intellectuals, social activists and literary scholars of the two countries realized the importance of translation, actively participated in translation activities, and became the leading leaders of modern translation in the two countries.For example, yan Fu, Liang Qichao and Lin Shu were active translators in early China, while xuan CAI, Pu Yinzhi, Shen Caihao and other famous scholars, thinkers and social activists led the translation during the Korean Peninsula's enlightenment period. After entering the decade of the 20th century, the translation of the two countries gradually entered the climax.Many Chinese writers, including Lu Xun, Guo Moruo and Zhou Zuoren, actively translated while writing. Choi Nam-sun and Lee Kwang-soo, leaders of Korean literature in the first decade of the 20th century, also actively translated their works.In addition, famous writers of new novels such as Lee Hae-jo, Ahn Guk-seon, and Choi Chan-sik were motivated and motivated by translation activities. With the development of translation, a number of specialized literary translators have emerged in both countries. In addition, some new women at that time also participated in the translation, such as Bing Xin from China and Kim Myung-soon from Korea.In terms of translation strategies or ways, early modern translation system is far from mature, highly standard translation way, utilitarian purpose, color thick, many translators from themselves and the needs of the audience, or excerpts and delete any reduction of the original (AD, Jane), or add their own opinions and comments in the process of translation, the tai shang ganying pian), Or in the form of translation only summarize the general idea (synopsis), for example, liang Qichao and Cui Nanshan's translation to a large extent are abridged, synopsis or translation.Generally speaking, the forms and methods of translation at that time were characterized by diversity and hybridity, which were similar in China and Korea. The reason is related to the mainstream ideology of the translation leaders who hoped to enlighten the people, enrich the country and strengthen the army through translation as soon as possible.&lt;br /&gt;
(5) Disputes on &amp;quot;Literary translation&amp;quot;&lt;br /&gt;
After literary translation gradually got on the right track and became the mainstream of translation works in the two countries, translators in the two countries gained further insights on the application, methods and techniques of translation and gradually began to express their own views on translation, whose discussions cover all aspects of translation. Such as translation methods, translation skills, translation and the status of translators, the role of translation. The opinions of different translators are bound to be different. Therefore, in the modern and contemporary period, both China and South Korea had debates on translation (literary translation). The focus and theme of the debate are similar, such as &amp;quot;translatable or untranslatable&amp;quot;, &amp;quot;literal translation versus free translation&amp;quot; and so on.It is well known that in the history of modern Chinese translation, especially in the May Fourth Movement period, many writers began their literary career by translating foreign literature, and most of them published discussions on translation. The differences between different translators and groups have led to several famous debates in the history of Chinese translation. For example, lu Xun and Zhou Zuoren proposed Literal translation and related debates are typical examples. In addition, in the history of modern Chinese translation, there are also debates on &amp;quot;translated names&amp;quot;, &amp;quot;translatable or not translatable literary works&amp;quot;, translation methods such as mistranlation, hard translation and dead translation, and translation paths such as literal translation or retranslation.The 1920s was a period when the history of modern and contemporary translation in Korea was on the right track. Many newspapers and magazines published discussions on translation and related debates. In the history of modern translation on the Korean Peninsula, one of the most famous disputes about translation is the dispute between Jin Yi and Liang Zhudong about &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot; in poetry translation. Liang zhudong believes that poetry is untranslatable and should be literal compared with free translation. Jin Yi believes that although poetry is untranslatable, if translators exert their own subjective initiative, it can completely improve the value of translated poetry and even become a new creation. However, it is interesting that although Liang zhudong praised the method of &amp;quot;literal translation&amp;quot;, he criticized the &amp;quot;overseas literature school&amp;quot; that focused on foreign literature at that time for being too rigid in the way of literal translation, and believed that &amp;quot;literal translation&amp;quot; should be organically combined with &amp;quot;free translation&amp;quot;.In fact, the debate between literal translation and free translation, or &amp;quot;domestication&amp;quot; and &amp;quot;foreignization&amp;quot;, is closely related to ideology.&lt;br /&gt;
The debate between translators in the two countries over these issues is actually carried out at the ideological level. According to venuti, a famous translation theorist of deconstruction school, the choice of translation strategy is determined by ideology.&lt;br /&gt;
(6) The influence of translation on the languages and literature of the two countries&lt;br /&gt;
In fact, the greatest influence of modern literary translation on China and South Korea is reflected in the development of characters and literature. First of all, translation must be carried out with language as the carrier. Under normal circumstances, the translated language is naturally the lingua franca of a country and a nation, but for China and South Korea in the late 19th and 20th centuries, a common problem emerged in the process of translation in terms of language carrier: At that time, both countries had two parallel language systems, which coincided with the social and cultural transition, so language translation became a very interesting topic.As we all know, in the late 19th century and the early 20th century, There were two languages in China: Classical Chinese and vernacular Chinese. Vernacular Chinese was still in the ascendant, while classical Chinese still played an important role in written and literary translation. Of course, the classical Chinese at this time refers to the late Qing Dynasty and the early Republic of China common &amp;quot;shallow classical Chinese&amp;quot;, it is different from the past obscure ancient prose, but in classical Chinese mixed with common sayings, is a kind of literary language between ancient Classical Chinese and vernacular.For example, Lin Shu, a great modern translator, translated foreign literature in classical Chinese. His translation was not only welcomed by readers at that time, but also had a great influence on many famous Chinese intellectuals. In the late Qing Dynasty and the early Republic of China, there were both classical Chinese and vernacular Chinese translations, and the classical Chinese translations were more than the vernacular ones, but basically the two languages co-existed peacefully. In the process of translation, the needs of the audience should be considered. The same translator can translate in both vernacular and classical Chinese. The same foreign novel may have both classical and vernacular translations.It was not until after the New Culture Movement that the vernacular style gradually occupied the main position in written language. After the 1920s, the translated works in China were mainly in vernacular. For the development of modern Chinese vernacular, it can be said that the impact of translation is extremely far-reaching. Chinese vernacular can be divided into &amp;quot;traditional vernacular&amp;quot; and &amp;quot;modern vernacular&amp;quot;.The traditional vernacular is based on a Dream of Red Mansions.&lt;br /&gt;
The vernacular of China represented by such vernacular classics as Water Margin, which is not influenced by western language. The &amp;quot;modern vernacular&amp;quot; is based on the traditional vernacular, influenced by oral and ancient prose and with the color of European, that is, the May 4th Movement advocated vernacular, namely the so-called European vernacular.It is worth noting that this Kind of European vernacular was actually created by western missionaries in China at that time, and the tool of missionaries to create European vernacular is translation. In order to spread religion and western culture smoothly, they translated a large number of Western books, including holy books, and consciously chose words and styles more suitable for ordinary people to read in the process of translation, which was the prototype of vernacular Chinese vigorously advocated by the May Fourth Movement.Similar to the situation in China, the Korean Peninsula in the late 19th and early 20th centuries also had two basic styles, namely, the mixed style of Chinese and Chinese and the pure Style of Chinese. It was only after the 1894-1895 Revolution that the Korean Peninsula's national language began to be widely used. It takes time for any language style to emerge and mature, and the Korean Peninsula's &amp;quot;pure Korean style&amp;quot; is no exception,In 1921, Korean language researchers formed the Korean Language Research Society under the influence of the Zhou Dynasty, which served as an opportunity for the further establishment of the modern Korean language. Before this, mixed Chinese and Korean language played an important role in the written language of the Korean Peninsula for a long time.In fact, the so-called mixed Chinese characters are based on Chinese characters, sometimes using Korean characters. The difference is that some mark Korean characters on Chinese characters, and some do not even mark Korean characters, but only Chinese characters. There is another special case, that is, the pure Chinese style with Korean auxiliary words and endings, such as the &amp;quot;hanging out Chinese style&amp;quot; used by Shen Caihao in the translation of the Biography of the Three Heroes of the Foundation of Itri.It is worth mentioning that it was also western missionaries who initially carried out translation activities in Korean. In order to preach, they carried out translation activities mainly aimed at the &amp;quot;Bible&amp;quot; in the Korean Peninsula, using the Korean language, which was not popular and was not valued by the Korean intellectuals at that time. The purpose of using The Korean language was to make the translated holy book easier for more ordinary people to accept. Kim Byeong-cheol holds that it is the translation of sacred books in the native Korean language that gave birth to the main form of modern literature on the Korean Peninsula, namely the &amp;quot;new novel&amp;quot;, and thus promoted the &amp;quot;unity of language and language&amp;quot; and the emergence of modern literature in Korea.In general, the influence of translation on the development of Chinese and Korean characters and literature is far more than that. It can be said that the expansion of sentence structure, the change of style, the enrichment of vocabulary, the improvement of expressive force and the perfection of grammar system of the two languages are all inseparable from translation. In a word, translation has played an indispensable role in the unification of language and language in the history of Chinese and English literature. In addition to its role in language, translation also has a profound influence on the development of modern literature in both countries. As is known to all, the translation and introduction of a large number of foreign novels not only brought strong shock and impact to the literary circles of the two countries at that time, but also provided a lot of reference for the realization of the literary transformation of the two countries.It can be said that in the process of the collision, integration and evolution of eastern and western literature, literary translation plays a decisive external role in the transformation of Chinese and Korean literature from classical form to modern form, and has a great impact on the literary concept, literary type, narrative mode and expression mode. In this regard, researchers in China and South Korea have given positive descriptions.&lt;br /&gt;
==4. conclusion==&lt;br /&gt;
There are many similarities between China and South Korea in modern times. Under the environment of western learning spreading to the east, both of them were knocked out of the country by the West, suffered the invasion of western powers and Japan successively, and passively started the journey of modernization. Under the circumstance of deepening national crisis of domestic and foreign invasion, the enlightened intellectuals of the two countries have carried out the exploration of saving the nation from extinction, and translation is an important means for them to achieve this goal. To be specific, the historical context of the spreading of Western learning from the end of the 19th century endowed the two countries with unique historical characteristics. Due to the similarity of historical, cultural and political background and mainstream ideology, the translation of modern and contemporary literature in the two countries also presents many similarities and even intersecting points. As analyzed above, the most obvious common point in the modern translation history of China and Korea is ideology Influence throughout. For China and Korea at that time, one of the mainstream ideologies was &amp;quot;modernization transformation&amp;quot;, and translation was the driving force for the modernization transformation process of the two countries. Therefore, utilitarianism and purposefulness run through the development of modern translation in both countries. In addition to the mainstream social ideology, the translator's personal ideology also has a great influence on literary translation in both countries.For example, the early translation phenomenon led by Western missionaries and the later translation activities led by intellectuals of the two countries were all carried out by translators for their personal purposes under the influence of the general environment at that time. It can be said that it is because of the influence of the subliminal form of the western learning spreading to the east that the modern and modern translations of the two countries show many similarities or similarities. Comparing the literary translation of the two countries in terms of specific content, we can find many similarities in details. For example, western missionaries played an important role at the beginning. After entering the 20th century, the translation of both countries was deeply influenced by Japan. The translation groups of the two countries were the best intellectuals and representatives of the new culture at that time. When they translated foreign works, they also carried out various discussions and even debates about translation. Translation activities have broadened the horizons of the people of the two countries and enriched their languages, literature and even culture. &lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that cultural exchanges between the two countries have also been continued through translation. Of course, due to the differences in specific situations, there are some differences in literary translation between the two countries while showing common features. The author believes that the biggest difference lies in the scale of translation. To be specific, from the number of translated works and translators, the discussion and construction of translation theories, the importance attached to translation, and the influence and status of translation in the history of national literature, Chinese modern translation is obviously higher. The main reason is that the translation environment and background of the two countries at that time are different, that is, the difference between complete colonies and semi-colonies. Although the Qing Dynasty fell under the background of the competition of western powers, China did not completely become a colony of any power, so it was relatively free and independent in political and cultural development. However, because Korea was annexed and ruled by Japan, it was difficult to develop modernization independently. The whole society was highly dependent on Japan, and it was also greatly restricted and influenced by Japan in terms of ideology. Translation activities were no exception. &lt;br /&gt;
&lt;br /&gt;
As mentioned above, the purpose of the author's comparative study of Chinese and Korean contemporary literature translation is to restore the contemporary and contemporary literary exchanges between the two countries, and at the same time to provide necessary background for the mutual translation and introduction of the contemporary and contemporary literature of the two countries. However, the study of Chinese and Korean modern literature translation is a polyphonic and polysemy subject with a very wide range of coverage. Due to the limited space and author's ability, this paper only generalizes and arranges the subject from a macro perspective, and many details are not developed in depth. Translated works by the capacity of, for example, the sources of the related works and so on, for more exist in the two countries pay fork points to explore, in the evaluation of literature translation of words between the two countries and the specific influence of literature, especially under the background of their literary translation between the two countries the properties and significance of literary translation, etc, if you can carry out further discussion and exploration of the content, The research results will be more rich and three-dimensional.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
There were many similarities between China and South Korea in modern times. Under the environment of western learning spreading to the East, both of them were knocked out of the country by the West, suffered the invasion of western powers and Japan successively, and passively started the journey of modernization. Under the circumstance of deepening national crisis of domestic and foreign invasion, the enlightened intellectuals of the two countries had carried out the exploration of saving the nation from extinction.Translation was an important means for them to achieve this goal. To be specific, the historical context of the spreading of Western learning from the end of the 19th century endowed the two countries with unique historical characteristics. Due to the similarity of historical, cultural and political background and mainstream ideology, the translation of literature in the two countries also presented many similarities and even intersecting points. As analyzed above, the most obvious common point was ideology influence. For China and Korea at that time, one of the mainstream ideologies was &amp;quot;modernization transformation&amp;quot;,for which translation was the driving force. Therefore, utilitarianism and purposefulness ran through the development of modern translation in both countries. In addition to the mainstream social ideology, the translator's personal ideology also has a great influence on literary translation in both countries.For example,the early translation phenomenon led by Western missionaries and the later translation activities led by intellectuals of the two countries were all carried out by translators for their personal purposes under the influence of the general environment at that time. Without doubt, the influence of the subliminal form of the western learning spreading to the east constituted similarities between the two countries.Comparing the literary translation of the two countries in terms of specific content,we found many similarities in details. For example, western missionaries played an important role at the beginning. After entering the 20th century, the translation of both countries was deeply influenced by Japan. The translation groups of the two countries were the best intellectuals and representatives of the new culture at that time. When they translated foreign works, they also carried out various discussions and even debates about translation. Translation activities had broadened the horizons of the people and enriched their languages, literature and even culture.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that cultural exchanges between the two countries have also been continued through translation. Of course, due to the differences in specific situations, there are some differences in literary translation between the two countries while showing common features. The author believes that the biggest difference lies in the scale of translation. To be specific, from the number of translated works and translators, the discussion and construction of translation theories, the importance attached to translation to the influence and status of translation in the history of national literature, Chinese modern translation was obviously higher. The main reason was that the translation environment and background of the two countries at that time were different, that is, the difference between complete colonies and semi-colonies. Although the Qing dynasty fell under the background of the competition of western powers, China did not completely become a colony of any power, so it was relatively free and independent in political and cultural development. However, because Korea was annexed and ruled by Japan, it was difficult to develop modernization independently. The whole society was highly dependent on Japan, and it was also greatly restricted and influenced by Japan in terms of ideology. Translation activities were no exception. &lt;br /&gt;
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As mentioned above, the purpose of the author's comparative study of Chinese and Korean contemporary literature translation is to restore the literary exchanges between the two countries, and at the same time to provide necessary background for the two countries. However, the study of Chinese and Korean modern literature translation is a polyphonic and polysemy subject with a very wide range of coverage. Due to the limited space and author's ability, this paper only generalized and arranged the subject from a macro perspective, and many details were not developed in depth, such as the sources of the related works,the evaluation of literature translation of words, the properties and significance of literary translation and so on. This paper will be more rich and three-dimensional with further discussion and exploration of the content.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:59, 11 December 2021 (UTC)&lt;br /&gt;
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==References==&lt;br /&gt;
*金秉哲[韩]: 《韩国近代翻译文学史研究》，首尔: 乙酉文化社，1975。130-160页&lt;br /&gt;
*金鹤哲: 《1949 年以前韩国文学汉译和意识形态因素》，《中国比较文学》2009 年第 4 期，第 66 页。&lt;br /&gt;
*金旭东[韩]: 《翻译与韩国的近代》，首尔: 小明出版社，2010，第25~28页。&lt;br /&gt;
*王秉钦、王颉: 《20世纪中国翻译思想史》，南开大学出版社，2004，第31页。&lt;br /&gt;
*许钧: 《面向中西交流的翻译史研究》，《解放军外国语学院学报》2014 年第 5 期，第 140 页。&lt;br /&gt;
*许钧、袁筱一编著 《当代法国翻译理论》，南京大学出版社，1998，第 128 页。&lt;br /&gt;
*朱一凡: 《翻译与现代汉语的变迁 ( 1905 ~ 1936) 》，外语教学与研究出版社，2011，第 72 页。&lt;br /&gt;
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=刘沛婷 Western Translation history in Renaissance)=&lt;br /&gt;
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刘沛婷 Liu Peiting, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
The Renaissance is not only an important period in the history of literature and technology, but also a turning point in the history of western translation. During this period, the translation of religious and literary works gradually flourished, and translators constantly put forward new translation concepts and tried translation practices.The soaring of national consciousness and national languages contributed to the characteristic ideas of translation in the Renaissance. Especially France, Britain and Germany had made outstanding contributions to the evolution and progress of the entire translation history during this period.This chapter is to have a brief introduction to the translation history in Renaissance, conduct a detailed explaination from the three countries of France, Britan and Germany respectively and illustrate some representative translators and translation theories with the hope to show the magnificent translation achievements in Renaisance and the evolvement of human translation history.&lt;br /&gt;
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==Key words==&lt;br /&gt;
Translation history; renaissance; France; Britain; Germany&lt;br /&gt;
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Translation history; Renaissance; France; Britain; Germany--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:44, 14 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The period from around the fourteenth until the mid-seventeenth century has conventionally been designated as the Renaissance,referring to the rediscovery and revitalization of the literature, art and science of ancient Greece and Rome. The term was devised by Italian humanists who sought to reaffirm their own continuity with the classical humanist heritage after an interlude of Middle Ages  (Habib 2011：79).It was a great revolution in intellect and culture. It is also “the greatest progressive revolution that mankind has so far experienced, a time which called for giants and produced giants”.Renaissance takes spreading humanism thought as one of the main forms of expression, involving all aspects of the cultural field, including the ancient Greek, Roman works and contemporary European works. In the process of studying and reviving classical culture, as well as developing and spreading new ideas, translation obviously plays an important role. The magnificent Renaissance itself included and depended on an unprecedented scale of translation activities. Therefore, it marks not only a great development in literature, art and science, but also an important milestone in the history of translation.(Engels 1972：445)&lt;br /&gt;
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Originated in Italy in the 15th century, and in the 16th century Renaissance swept Europe, (especially Western European countries) and gradually formed a climax. At that time, western society was filled with a spirit of seeking and conquering the objective world. When this spirit was reflected in the translation field, translators were full of ambition and spared no effort to constantly discover new literary styles, excavate new cultural heritages and transplant new ideas to their motherland. Many translators translated classic works related to politics, philosophy, social system, literature and art of past glorious countries into their national languages as reference for the development of their own countries. All achievements in translation were compared to &amp;quot;trophies&amp;quot; in literature and knowledge. Next, we are to have a review on translations history of France, Britain and Germany, three major Western European countries in the high tide of Renaissance.&lt;br /&gt;
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From the 14th century to the middle of the 17th century, it is the Renaissance, which refers to the rediscovery and Renaissance of ancient Greek and Roman literature, art and science. The word &amp;quot;Renaissance&amp;quot; was designed by Italian Humanists who tried to reaffirm their continuity with the heritage of classical humanism, which was a great intellectual and cultural revolution. This is also &amp;quot;the greatest progressive revolution that mankind has experienced so far, an era that needs giants and produces giants&amp;quot;.&lt;br /&gt;
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The Renaissance takes the dissemination of humanism as one of the main forms of expression, involving all aspects of the cultural field, including ancient Greek, Roman and contemporary European works. Translation obviously plays an important role in the study and revival of classical culture and the development and dissemination of new ideas. The brilliant renaissance itself included and relied on unprecedented translation activities. Therefore, it not only marks the great development of literature, art and science, but also an important milestone in the history of translation. (Engels 1972:445)&lt;br /&gt;
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The Renaissance originated in Italy in the 15th century, The 16th century swept Europe (especially in Western European countries) and gradually reached a climax. At that time, western society was full of the spirit of pursuing and conquering the objective world. When this spirit was reflected in the field of translation, translators were full of ambition, spared no effort to constantly discover new styles, excavate new cultural heritage and transplant new ideas to their motherland. Many translators put the politics of past brilliant countries into practice , philosophy, social system, literature and art are translated into their own national language as a reference for their own development. All translation achievements are compared to &amp;quot;trophies&amp;quot; of literature and knowledge. Next, we will review the translation history of France, Britain and Germany in the climax of the Renaissance.   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:52, 14 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==1.History of Translation in France==&lt;br /&gt;
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In France, during this period, the wind of restoring ancient styles began to prevail, ancient languages were valued, and ancient writers were respected. A large number of literary works of Italian humanists, such as Dante, Petrarch and Boccaccio, were introduced to France, which opened people's eyes and promoted the development of French humanist movement. Therefore, the focus of translation in France shifted from religious works to Italian classical literature works. The increasingly translation activities constituted a climax of translation history in France.Translators generally believed that translating literary works was much more difficult than translating religious works. Although translation began to reach a new climax, most of the translations were the &amp;quot;by-products&amp;quot; of literary creation, with low quality and little influence. However, in the climax of translation in France in the 16th century, there were two outstanding contributors , one is Jacques Amyot and the other is Etienne Dolet.(Tan Zaixi,2000:21)&lt;br /&gt;
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Jacques Amyot was considered the king of translation in France. His first translation, Heliodoros’ ''Aethiopica'', was completed in 1547. Later, he translated Diodorus Siculus’s ''Bibliotheca Historica'' and, in 1559 he translated Ploutarchos’s ''Vies des Hommes illustrus'', which was Amyot’s most famous work. Amyot advocated translators’ thorough understanding of the original text and plain expressions without embellishment. He emphasized the unity of content and form, free translation and literal translation. In his translation, he borrowed words from Greek and Latin and simultaneously created a large number of words in politics, philosophy, science, literature, music and so on. He fused common people language and academic language, and therefore formed an independent style of translation and greatly enriched the French vocabulary. At that time, the French language is still in a state of confusion, Amyot and other humanists made tremendous  contributions to unify the French national language.&lt;br /&gt;
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Another great man in translation history of France was Etienne Dolet. As a famous translation theorist, Dolet advocated targeted texts’ faithfulness to the original work, which is the fundamental and indispensable principle in translation. Dolet believed that an excellent translator must be proficient in both source language and target language. He was aware of the weakness of word-by-word translation and emphasized that the translation should be consistent with the original text in style through various rhetorical devices. Ballard,a French translation theorist, argued that dolet’ translation principles constituted the rudiment of the French translation theory. What he proposed was the universal principles for translation.(Xu Jun and Yuan Xiaoyi,1998:284)&lt;br /&gt;
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Jacques Amyot set an example for the following translation works in France in the 16th century; Etienne Dolet’s translation theories were of great significance and were the first systematic principles of translation, which were ahead of those of Germany and Britain and advanced translation studies into a higher level. Thanks to their efforts, France had earned a place in  translation history during Renaissance period.&lt;br /&gt;
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==2. History of Translation in Britain==&lt;br /&gt;
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In Britain, the Renaissance came later than in the main countries of continental Europe, but Britain gradually kept up with others countries. During this period, the British capitalist economy developed rapidly, productivity improved greatly, and the country became increasingly prosperous , which has laid a solid material foundation for the development of literature and translation. Especially since Elizabeth came to the throne in the mid-16th century by the early 17th century, translation was flourishing. On the one hand, religious translation is in the ascendant, on the other hand, a great deal of literature from Greece, Rome and other contemporary countries was translated into English, which made English translation activities in this period one of the peaks of translation activities in Europe and even the world. Literary translation ranged from history and philosophy to poetry and drama, with the occurrence of a large number of excellent translators,who introduced ancient ingenuity to Britain, offering serious lessons not only to the Queen and politicians, but also plots and materials for dramatists and readers with the purpose of serving their country. At that time, many translators were not scholars, they were not bound by any strict translation theory, they could translate what they had at their own will. Many translations are not directly from the original texts, but from the translations or even the translation of the translation. Therefore, the scope and quantity of translation are unprecedented in Britain.In the aspect of religious translation, the translator was also influenced by humanism and the Reformation, a new understanding of the Bible arose, as well as a new attitude and a new way of dealing with the translation of the Bible. People advocated accurate translation in religious works, while for literature, the unbridled freedom of traditional translation methods persisted throughout the Elizabethan era.(Tan Zaixi,2004:71)&lt;br /&gt;
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In Britain, the Renaissance began later than the major countries in continental Europe, but Britain developed rapidly and produced many achievements.&lt;br /&gt;
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During this period, the British capitalist economy developed rapidly, the productivity increased greatly, and the country prospered day by day, which laid a solid material foundation for the development of literature and translation. Especially since Elizabeth ascended the throne in the middle of the 16th century and the beginning of the 17th century, translation has developed vigorously. On the one hand, religious translation is in the ascendant. On the other hand, a large number of literary works from contemporary countries such as Greece and Rome have been translated into English, which makes English translation activities in this period one of the peaks of translation activities in Europe and even the world. Literary translation ranges from history and philosophy to poetry and drama. A large number of excellent translators have emerged. They introduced the originality of ancient times into Britain, which not only provided serious lessons for the queen and politicians, but also provided plot and materials for playwrights and readers, in order to serve the country. At that time, many translators were not scholars. They were not bound by any strict translation theory. They could translate what they had at will. Many translations are not directly from the original text, but from the translation, or even the translation of the translation. Therefore, the scope and quantity of translation are unprecedented in the UK. In religious translation, the translator has also been influenced by humanism and religious reform, has a new understanding of the Bible, and has a new attitude and method to the translation of the Bible. People advocate accurate translation in religious works, while in literary works, the unbridled freedom of traditional translation methods continued throughout the Elizabethan era. (Tan Zaixi, 2004:71)   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:59, 14 December 2021 (UTC)Liu Wei&lt;br /&gt;
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====2.1 Translation of Douglas and Cheke====&lt;br /&gt;
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Gavin Douglas (1475-1522), a famous Scottish poet and translator, published his translation of Virgil’s epic Poem ''The Aeneid'' in the early 16th century. He began his preface with a eulogy of Virgil and then launched into a serious critique of the overly liberal medieval translation. He criticized Caxton's French translation as unfaithful, as far from Virgil's original work, and &amp;quot;as different from the devil as st. Austin&amp;quot; . Douglass did not translate word by word, but freely translated. He said that if translator encountered difficult words, sentences, rhymes, one had to deviate from the original text. Douglass had added new content and new meaning to translation principles, and thus had a certain value (Amos,1920:129)&lt;br /&gt;
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Towards the middle of the 16th century, an important figure in translation was John Cheke (1514-1557). He was a humanist and supporter of the Reformation, as well as a polyglot authority on Greek at the time and served as Principal Regent Chair Professor at Cambridge university. As a result of his popularity, Cambridge became one of the academic centers in Britain, and its students were well versed in translation and language studies.Cheke was a tireless translator,who had translated many Greek works and the Bible. Characteristically, he used only pure English words or words of Saxon origin in any case, and did not adopt any foreign words. He thought the English language was rich enough without borrowing foreign words. Because of his insist on pure English words and expressions in his translation, he sometimes had to use vulgar, old and remote words, so that the style of his translation was sometimes forced and stiff.&lt;br /&gt;
Cheke's theory had a great influence on contemporary translators. Many other translators often mentioned Cheke's translation views in their own translations. At that time, the main criterion for evaluating a translated work was whether it was authentic and easy to be understood by compatriots. At the same time, the study of foreign grammar and contrastive vocabulary also appeared in language studies. The translator aimed to turn the translation into a textbook for students of language and translation to imitate. Some translators also use word-for-word translation to provide guidance to students. Abraham Fleming, for example, translated Virgil's Poems &amp;quot;according to grammatical rules.&amp;quot; He &amp;quot;used plain and understandable words so as to accommodate those who are slow in comprehension, since the translator's aim is to use straightforward language structures to ease the difficulties of those whose grammatical concepts are vague, rather than to devise ways to satisfy the desires of grander humanists&amp;quot; (Amos,1920:109).&lt;br /&gt;
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====2.2 Translation from Thomas North to Georga Chapman====&lt;br /&gt;
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However, in the translation of classical masterpieces, translators tended to shift from one extreme to another. In order to avoid word-for-word translation, translators adopted excessively free translation, which was not only for the expression of words but also for the treatment of the substance of the content. Nicholas Udall(1505-1556) created the first British comedy ''Ralph Roister Doister''. In 1542 he translated Erasmus's ''Book of Proverbs'', and later presided over Erasmus's Latin translation, including the Gospel of Luke, which was published in 1548. In the preface to the translation of the ''New Testament'', he discussed various issues related to translation: the treatment of translators, the expansion of English vocabulary, the treatment of sentence structure of the translation, Erasmus's style and the stylistic characteristics of different authors. In his opinion, translation should not follow rigid rules. He advocated the use of liberal translation without deviation from the original meaning, and the translation should be readable and understandable to the general readers.&lt;br /&gt;
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The most famous translation work of the whole Elizabethan period was the English version of ''The live of the Noble Grecians and Romans'' by translator Thomas North (1535-1601).He studied at Cambridge University in his early years, and later worked in London, where he met many translation lovers and gradually became interested in translation. In 1557 he translated ''Diall of Princes'' from a French translation and later he translated an oriental allegory from an Italian translated version in 1601. ''The live of the Noble Grecians and Romans'' was translated in 1579. This translation was not from the original Greek version, but from Amyot's French translation. However, it was still considered as an excellent epoch-making translation. North did not express any unique views on translation, but he was famous for his excellent translation in the western translation circle with three main characteristics:(1)because it is not from the original Greek, the style of the translation is different from Plutarch's style; The original text is elegant while his translation is plain. (2) North's style is also different from that of Amio in the French translation, which he used as a model. He not only changes the wording of the French translation, but also its spirit. Like Amio's French translation, North's is another masterpiece based on Plutarch's original subject. (3) Though he knew little of the classical language, North was a master of The English language, and his translations were so simple and fluent, so elegant and idiomatic, that readers might have taken them for the original if they had not read the plot. North's translation was praised by Shakespeare, who drew his inspirations from this translated works and cited its expressions, which can be considered a terrific contribution of translation to literature. The prose style adopted by ''The live of the Noble Grecians and Romans'' is novel and elegant, neither rigid nor grotesque, and hence it has become an enduring model in the history of English translation.(Tan Zaixi, 2004:76)&lt;br /&gt;
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Philemon Holland (1552-1637) was the most outstanding English translator of the 16th century, whose works outnumbered those of his contemporaries. He had been a surgeon and headmaster of Coventry General School. He was a learned translator and scholar, fluent in Greek and Latin, proficient in ancient writing and proverbs, as well as rhetoric. His classical works were not translated but directly from the Original Greek and Latin texts, and the subject matter was also varied. He translated Livy's Romane Historie in 1600 and Pliny's Natural Historie in 1601, Plutarch's Moralia in 1603, and translated Zitonius's The Historie of The Twelve Caesars in 1606. Hollander is better known in British translation circles than North or Florio, known as the Elizabethan &amp;quot;translator general&amp;quot; who truly understood &amp;quot;the secret of translation.&amp;quot; Holland's translation has two main characteristics :(1) translation must serve the reality; (2) Translation must be stylistic. In the preface to his translation of Natural History, he emphasized, &amp;quot;the practicality of the content of the translation, which should be suitable not only for learned people, but also for the uncivilized peasants in the countryside and for the industrious craftsmen in the cities”. Hollander was particular about the style of his translation. Like other translators of his time, he used a slow prose style, and the translation was always longer than the original. In his translation he tried to be authentic, not foreign. He does not use artificial language, but popular style. Like Cheke before him, he also preferred archaic words to foreign ones out of love for the language of his own country. What’s more, he believed that the style of the original work must be reflected in the translation, and that different works must adopt different styles without adding differences. Hollander had left behind more than just translations, but a series of works with distinctive stylistic characteristics that could withstand even the rigors of modern stylist analysis and provide the modern reader with great pleasure.(Amos,1920:86) &lt;br /&gt;
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Georga Chapman (1559-1634) was another outstanding translator, whose greatest contribution is that his translations serve as a bridge between the 16th and 17th centuries. He spent his early years as a student at Oxford University before writing poetry and plays. But it was mainly his translations that made him famous in the literary world. He translated the first seven books of the Iliad in 1598, completed the epic in 1611, and the Odyssey in 1616. The translator's profound attainments and outstanding achievements made his translation a literary masterpiece of the time. Chapman adopted two different styles to translate the same poetic style of the original work, that is, he translated Iliad in sonnet and Odyssey in heroic couplet. In contrast, the former is more appropriate and decent than the latter. In his translation, Chapman made extensive use of mythological dictionaries, referred to early reviews of Homer's work. However, both in content and style, the translation is not completely consistent with the original work. It has transformed the characters in the poem, and added elements of moral preaching to the value of wisdom and the expression and restraint of feelings. Chapman is unblemished as a translator. As a poet, however, he was blameless. His translation has achieved great success mainly because of his extraordinary creative ability as a poet and superb ability to control language.&lt;br /&gt;
Chapman also made some contributions to the theoretical issues of translation. In the preface of his translation, he clearly put forward the principles guiding the translation of poetry, thus filling some gaps in translation theory in the 16th century, especially in the later period. In principle, he was against too much strictness as well as too much freedom. He said, &amp;quot;I despise the translators for being trapped in the mire of word-for-word translation, losing the living soul of their native language and blackening the original author with stiff language. At the same time, I abhors the use of complicated language to express the meaning” (Amos,1920:130) . Of all that he opposed, the first was word for word translation,which was considered the most unnatural and absurd. According to the views of translation theories such as Horace, who had insight and a prudent attitude that the translator should not follow the original number of words and word order, but follow its material composition and sentences, carefully weigh sentences, and then use the most appropriate expressions and form to express and decorate the translation. Chapman believed that word-by-word translation was a common fault of translators, and even he himself was inevitable. But those mistakes could be overcome. Although the expression of meaning and language style of Greek and English are different, the translator could compare the translation with the original text in meaning and style as long as he carefully identified, understood the spirit of the original text and had a thorough understanding of its grammar and vocabulary and thus approximately achieved &amp;quot;formal correspondence&amp;quot;. Chapman's theory was carried on by many translators of the 17th and 18th centuries. This was obviously because he opposed both extremes, and it was easier to argue for a compromise.(Catford,1965:32)&lt;br /&gt;
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====2.3 Translation of Tyndale and Fulke====&lt;br /&gt;
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In the 16th century, the translation of the English Bible also flourished. Since the introduction of ethnic translation in the Middle Ages, the Bible had been increasingly read. It had the same appeal for all classes of people, which prompted translators to combine the accuracy required by scholars with the intelligibility required by ordinary people, thus promoting the overall development of translation art and theory. In this respect, religious translation in England in the 16th century was more effective than literary translation. Tyndale and Fulke were the main representatives of bible translation.&lt;br /&gt;
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William Tyndale (1494-1536) was an erudite humanist and protestant reformist. In 1523, his translation of the New Testament from Greek from a Protestant standpoint was opposed and persecuted by the English church authorities and was not allowed to be published. He fled to Germany in 1524 and, after many twists and turns, had his translation first published in 1525. In 1526, he smuggled the translation back to England against the will of the Church, trying to spread Protestant ideas through the new translation of the Bible and convert The English people to Protestants. The church authorities immediately took measures to lay siege. The Bishop of London claimed to have found 2,000 errors in Tyndale's translation. Thomas More, a famous humanist, attacked his translation very unkindly, and the priests bought all the copies they could get and burned them to prevent their proliferation. Uncompromising, Tyndale continued to translate the Bible in his own way: he translated the first book of the Old Testament in 1530, completed The Book of Jonah in 1531, and published the revised New Testament in 1534. The church authorities had no choice but to burn Tyndale in 1536 for heresy.&lt;br /&gt;
Tyndale's translation, however, had not disappeared but was republished after Tyndale's martyrdom and became increasingly influential, serving as the main reference version and as the model for all English translations for centuries to come. The greatest achievement of Tyndale's translation is that it takes into account the needs of academe, conciseness and literariness, and integrates these three elements into the style of English translation of the Bible. Tyndale paid special attention to the popularity of the translation, trying to use the authentic English vocabulary and ordinary narrative expressions of vivid and specific expressions, which makes his text simple and natural without being pedantic.(Tan Zaixi,2004:80)&lt;br /&gt;
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If Tyndale made a special contribution to the practical translation of the Bible in the 16th century, then it was William Fulke (1538-1589)who made the greatest achievements in the theoretical study of bible translation. Fulke was a scholar of The Bible with humanistic thoughts. Without translating the Bible completely, he had great views on translation theory. In 1589 he published a book entitled in Defence of the Sincere and True Translation of the Holy Scriptures into the English Tongue. It must be pointed out that Fulke did not systematically discuss the universal principles of translation as Dolet did. Instead, he only talked about the facts and refuted Gregory Martin's views, and expounded the theoretical issues in a rather chaotic manner. To sum up, there were mainly two aspects as follows:&lt;br /&gt;
(1)Translation can have nothing to do with faith. Fulke, influenced by Erasmus's linguistic approach, disagreed with Martin's assertion of theological authority over scientific scholarship. Translators, he believed, must be fluent in many languages so that they could make accurate judgments about the teachings of the saints without blindly following them. The power of a translator lies in his solid linguistic ability, not in his belief in God. He said, The translator cannot be called an unfaithful heretic as long as the translation conforms to the language and meaning of the original text, even if the motive is not good (Amos,1920:71). Fulke never accepted Martin's strict translation formulas, nor did he submit to unproven authoritative theories, even from the leaders of his own faction. Fulke’s point of view is obviously a challenge to the theological authority of Augustine with its purpose to liberate the Bible translation from the narrow theological tradition and win the right for ordinary people to translate and interpret the Bible.&lt;br /&gt;
(2)The Translation of the Bible must respect linguistic habits. If the translator has difficulty in understanding the original text, he/she should turn to the language habits of ancient non-religious writers, while one encounters difficulties in diction, translator should refer to the language habits of contemporary secular writers and the general public. Fulke added: &amp;quot;We are not lords dictating the way people speak. If we were, we would teach them how to use language better. Since we cannot change the way people speak, we have to follow Aristotle's instructions and use the language of ordinary people.&amp;quot; Therefore, religious usage should give way to common usage if it is in conflict with common usage. In translation, words and expressions that are most easily understood must be used so that those who do not know their etymological meaning can understand them. At the same time, if words have been misused over a long period of time, with meanings that do not correspond to the original meaning of the words, or have been misused to increase the ambiguity of the words, the translator should not follow blindly, but should look to the root and choose the words according to their original meaning, that is, according to the meaning used in the time when the Bible was written. In translating the Bible into English, Fulke did not advocate excessive borrowing of foreign words but tapping the expressive potential of English itself and paying attention to the use of expressions in line with English habits. Fulke acknowledged that English had a small vocabulary compared with older languages, but argued that this could not be compensated for by making up words, but by using Old English words again.&lt;br /&gt;
Clearly, some of Mr Fulke's views are limited and conservative. Many of the foreign words he objects to have been adopted as part of the English vocabulary. But many of his criticisms of Martin are convincing, and his work has been generally praised by the translators of the Bible. Some of his observations on language are so incisive that they are still of great reference value to the study of modern English.(Amos,1920:72)&lt;br /&gt;
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==3.History of Translation in Germany==&lt;br /&gt;
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In Germany, the national self-consciousness was further strengthened, and the trend of mechanical imitation of Latin gradually disappeared in the 15th century.&lt;br /&gt;
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====3.1 Dominant Ideas in German Translation====&lt;br /&gt;
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Linguists realized the unique style and expressive ability of German, and hence shifted the focus of translation from the original language to the target language. Free translation took the place of word-to-word translation and occupied the dominant position. The only reason for translators to object literal translation is its convenience for readers to understand word-by-word translation.&lt;br /&gt;
Gradually, scholars recognized that Hebrew, Greek, and Latin all have distinct features, especially in terms of idiomatic expressions. Similarly, since German is an independent language, it also has its own unique expressions that cannot be translated word by word into other languages, nor can expressions in other languages be translated word by word into German. Based an an understanding of the nature and differences of languages as well as a growing sense of nationality and desire to develop the national language, more and more historians and scholars have begun to use German idiomatic expressions rather than imitate Latin.&lt;br /&gt;
Against the background of this trend of thought, the free translators gradually changed their inferiority in the debates with the literal translators in the 15th century, and rightly put forward another profound reason against literal translation: German is an independent language with its own rules that must be respected; German has its own language style, which cannot be destroyed by imitation of other languages. This was the dominant idea in German translation throughout the 16th century.&lt;br /&gt;
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====3.2 Translation of Reuchlin, Erasmus and Luther====&lt;br /&gt;
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Johannes Reuchlin(1455-1522) aroused great academic interest in Hebrew. In 1515, he wrote Epistolae Obscurorum Virorum, exposing the narrow-mouthing ignorance of the scholars and monks, which led to a fierce debate between the reformers and conservatives in the church. At the same time, he was also very knowledgeable about translation theory. He mainly translated two works, ''Batrachom Yomachia'' (1510) and ''Septem Psalmos Poenitentiales'' (1512), using word-for-word translation. This contradicts his own remarks about translation.&lt;br /&gt;
However, its actual content and general principles could not be compared to those of the literal translation school in the 15th century. The literatrists of the 15th century only emphasized the imitation of certain rhetorical forms of the text, while Reuchlin understood the value of rhythm and the difference between the text and the translation. He believed that the form of the original was so closely integrated with the original that it could not be preserved in the target language. Just like Homer's works alive only in Greek, it would detract from the aesthetic value of literature when translated into any other language. The purpose of literal translation was not to ask the translator to imitate the style of the original text, but to make readers pay attention to the style of the original text and appreciate its literary value.(Tan Zaixi,2004:56)&lt;br /&gt;
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Another outstanding representatives of a new approach to literary study and new insights into translation theory in the 16th century was Desiderius Erasmus (1466-1536), who was born in a priest's family in Rotterdam, Netherlands. His early education was influenced by The Canon of Augustine. After studying in Paris, he lived successively in Britain, Germany, Italy and Switzerland, accepting humanism and opposing scholasticism. He was knowledgeable, good at language studies, and had profound attainments in Greek and Latin literature, especially his incisive treatises on literature and style.&lt;br /&gt;
Erasmus advocated that the original work must be respected. Before Erasmus, the Translation of the Bible in Various European countries was in a state of confusion. Erasmus bitterly pointed out that the translation and commentary of the Bible must be faithful to the original text, because no translation can fully translate the &amp;quot;language of God&amp;quot; as the Bible itself. Early theologians did not understand Hebrew or Greek and could not understand the original text of the Bible, so the truth of the Bible was covered up, distorted, or ossified into dogma. To uncover this truth, we must go back to the source. It is truth, not authority, that should be respected. What’s more, he claimed that translator must have a rich knowledge of language. He believed that to interpret the ''New Testament'' correctly it was necessary to learn ancient Greek; Anyone who wished to pursue theological studies must first be able to read the classics and learn Greek semantics, meanings, and rhetoric. Also, he realized the great importance of style in translation and attached great importance to readers’ requirements. There is no doubt that Erasmus' translation theory is the result of his humanistic thought, his mastery of multiple languages as well as his appreciation of literary styles. His translation principles and methods have exerted great influence on both contemporary and later translators.&lt;br /&gt;
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Martin Luther (149-146) was the founder of the European Religious Reform movement and the Protestant Church reformer. Luther translated the Bible, known as “the first bible of common people” in the history by using the people's language, which played a great role in unifying the German language and laid a foundation for the formation and development of modern German.&lt;br /&gt;
He also proposed that translation should adopt common people language and only appropriate free translation can bring the original enlightening thoughts of Bible into light. (Luther,1530:124) Grammatical correction and semantic coherence were of great value during translation. Translation was so challenging that it requires collective wisdom and repeatedly revisions.&lt;br /&gt;
Luther had also put forward seven rules for translation: the word order of the original text can be changed; modal particles can be used reasonably; necessary conjunctions can be added; words in the original text that do not have an equivalent can be omitted; phrases can be used to translate individual words; figurative usage and non-figurative usage can be changed flexibly; the accuracy of variant forms and explanations should be strengthened. Although Luther’s translation practice received a great deal of criticism, his translation of Bible his was considered to be the earliest written language in German and opened a new era in the development of modern German. It endowed him with the highest reputation and the most profound influence in Germany.(Xie Tianzhen,2009:23)&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
It could be seen from the above sections that one of the biggest characteristics of Western translation during the Renaissance was the parallel and independent development of the translation of western European national languages. The use of Latin, though still having some market, was a tributary in both writing and translation. Before the Renaissance, especially before the middle ages, when we talked about western translation, we mostly meant translation in Latin. Since the Renaissance, with the gradual formation and consolidation of national states and the development of national languages, western translation had turned to national languages,especially French, English and German.The translation activities in the Renaissance period were basically devoid of disciplinary consciousness, and the theories were fragmentary and unsystematic. Most of the authors were translation practitioners, and most of the theories were empirical. Thanks to the translators in these three countries who were devoted themselves to the study of translation principles and the transmission of classic works, their consistant and pain-staking efforts had pushed the translation theory to anew level and left countlessly valueable translated works.Therefore, the Renaissance could be said to be a turning point in the history of western translation. In short, the Renaissance marks that the translation of national languages has been firmly on the historical stage, and that translation practice and theory have broken away from the dark Middle Ages.It also laid a solid foundation for the contemporary translation. (Pan Wenguo,2002:23)&lt;br /&gt;
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As can be seen from the above chapters, in the Renaissance, the greatest feature of western translation theory was the parallel and independent development of Western European national language translation. Although before the Renaissance, especially before the middle ages, when we talk about western translation, we mainly refer to Latin translation. However, since the Renaissance, with the gradual formation and consolidation of the nation-state and the development of national languages, western translation has turned to national languages, especially French, English and German.&lt;br /&gt;
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However, we have to pay attention to the shortcomings of translation activities in the Renaissance. First, translators' translation theories are scattered and fragmented, lacking discipline consciousness and systematicness. Second, most translators are empirical, and the quality of their works is uneven.&lt;br /&gt;
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Because the translators of these three countries are committed to the study of translation principles and the dissemination of classical works, their unremitting efforts have pushed translation theory to a new height and left countless valuable translation works. Therefore, the Renaissance can be said to be a turning point in the history of western translation. In short, the Renaissance marks that the translation of national languages has been firmly on the historical stage, and the translation practice and theory have been separated from the dark middle ages. This has also laid a solid foundation for contemporary translation. (Pan Wenguo, 2002:23)  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 13:11, 14 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==References==&lt;br /&gt;
Amos, F. R. (1920). Early Theories of Translation[M]. New York: Columbia University Press.&lt;br /&gt;
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Benjamin, Andrew. (1989). Translation and the Nature of Philosophy: A New Theory of Words[M]. London and New York: Routledge.&lt;br /&gt;
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Catford,J.C.(1965) A Linguistic Theory of Translation[M].New York: Oxford University Press.&lt;br /&gt;
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Dolet, Etienne. (1540). How to Translate Well from One Language to Another[M]. Robinson.&lt;br /&gt;
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Frederick  Engels. (1883) The Dialects of Nature[M]. New York: Palgrave Macmillan.&lt;br /&gt;
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Luther, Martin. (1530). Sendbrief vom Dolmetschen[M]. Stoerig.&lt;br /&gt;
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M.A.R. Habib. (2011) Literary Criticism from Plato to the Present: An Introduction[M]. New Jersey: Wiley-Blackwell Publishing.&lt;br /&gt;
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Munday, Jeremy. (2001). Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge.&lt;br /&gt;
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Pan Wenguo 潘文国.(2002) 当代西方的翻译学研究[J] Contemporary Translation Studies in the West.中国翻译 Chinese Translation Journal,31-34.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2000). 翻译学[M] Translation Studies. 武汉：湖北教育出版社 Wuhan: Hubei Educational Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004).西方翻译简史[M] A Short History of Translation in the West. 北京：商务印书馆 Beijing: The Commercial Press.&lt;br /&gt;
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Xie Tianzhen 谢天振. (2003). 翻译研究新视野[M] New Perspective for Translation Studies. 青岛：青岛出版社 Qingdao: Qingdao Publishing.&lt;br /&gt;
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Xie Tianzhen 谢天振. (2009).中西翻译简史[M] A Brief History of Translation in China and the West.北京:北京外语教学与研究出版社 Beijing:Foreign Language Teachinng and Research Press.&lt;br /&gt;
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Xu Jun, Yuan Xiaoyi 许钧，袁筱一. (1998). 当代法国翻译理论[M] Contemporary Translation Thoery in France.南京：南京大学出版社 Nanjing: Nanjing University.&lt;br /&gt;
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=刘薇 Contemporary American Translation History)=&lt;br /&gt;
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Liu Wei 刘薇 Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
The United States is an important part of the &amp;quot;West&amp;quot;, so when we talk about the conception of &amp;quot;West&amp;quot;, it is impossible not to include the United States.Therefore, this chapter combs the development of contemporary American translation by introducing a series of theories of American Translators.&lt;br /&gt;
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The United States is an important part of the &amp;quot;West&amp;quot;, so when we talk about the conception of &amp;quot;West&amp;quot;, it is impossible to exclude the United States.Therefore, this chapter recapitulates the development of contemporary American translation by introducing a series of theories of American Translators. (corrected by--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:48, 14 December 2021 (UTC))&lt;br /&gt;
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==Key words==&lt;br /&gt;
translation theory of American, Eugene Nida,Robert Boogrand.&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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In the field of translation studies, the situation in the United States is very special.Since the history of the United States itself is not long, we can not expect to talk about &amp;quot;ancient American translation theory&amp;quot;, &amp;quot;medieval American translation theory&amp;quot;, or even &amp;quot;modern American translation theory&amp;quot;.American translation theory is mainly the  &amp;quot;contemporary translation theory&amp;quot;, which is developed after World War II (Guo Jianzhong, [introduction]: 2).Although the development of American translation theory is relatively short, there are still many influential translation theorists, such as Eugene Nida, Robert Boogrand, Andre Leverville, Lawrence Venudi, Edwin Gentzler and so on. They are constantly innovating and developing new theories in the field of translation.&lt;br /&gt;
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In the field of translation studies, the situation in the United States is very special.Since the history of the United States itself is not long, we can not expect to talk about &amp;quot;ancient American translation theory&amp;quot;, &amp;quot;medieval American translation theory&amp;quot;, or even &amp;quot;modern American translation theory&amp;quot;.American translation theory is mainly the  &amp;quot;contemporary translation theory&amp;quot;, which is developed after World War II (Guo Jianzhong, [introduction]: 2).Although the development of American translation theory is relatively short, there are still many influential translation theorists, such as Eugene Nida, Robert Boogrand, Andre Leverville, Lawrence Venudi, Edwin Gentzler and so on. They are constantly innovating and developing new theories in the field of translation. (corrected by --[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:48, 14 December 2021 (UTC))&lt;br /&gt;
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==Chapter1 Characteristics of the local American translation theory ==&lt;br /&gt;
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The development of contemporary American translation theory has three main characteristics: first, it inherits the tradition of European translation theory in terms of overall research methods;Second, the early studies were mostly influenced by the schools of American structural linguistics;Third, there is a tendency to catch up in research results.These characteristics are discussed one by one below.(Tan Zaixi,1999:237)&lt;br /&gt;
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On the first point, the inheritance of European tradition in the overall research method of American translation theory is due to its unique language and cultural tradition.As an integral part of the whole culture, translation culture naturally presents the basic characteristics of the development of the whole culture.Since the American culture with English as the national language is mainly inherited from European culture, the development of American translation culture, as an integral part of American culture, also inherits European translation culture.Especially in the early stage of the development of American translation theory, many influential people engaged in translation studies were immigrants from Europe or descendants of recent European immigrants.&lt;br /&gt;
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Take Thorman as an example: his translation theory work the art of translation published in 1901 is one of the earliest published works in the field of American translation theory, but the contents and discussion methods involved in the book have no obvious &amp;quot;American characteristics&amp;quot;.On the contrary, it is more like a work belonging to Europe, especially the British translation tradition. Even the examples in the book are similar to the European, especially the British translation tradition.&lt;br /&gt;
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The second characteristic of the tradition of American translation theory is that the early studies were greatly influenced by the schools of American structural linguistics, which can be said to be a more distinctive &amp;quot;American characteristic&amp;quot; in American translation studies.&lt;br /&gt;
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American linguistic studies are at the forefront of the West in many aspects. There have been many linguistic schools, such as human language school, structuralism school, transformational generative school and so on. All kinds of schools have also had various direct or indirect effects on American translation studies.&lt;br /&gt;
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The representative of American structuralist language school is Bloomfield. He adopts the method of behaviorism and believes that everything about language can be studied scientifically and objectively.He put forward a behaviorist semantic analysis method, which holds that meaning is the relationship between stimulus and language response.In 1950s, Chomsky's transformational generative theory replaced Bloomfield's theory and occupied the dominant position in American linguistics theory and occupied the dominant position in American linguistics.The influence of Chomsky's theory on translation studies mainly lies in his discussion of surface structure and deep structure.The concept of &amp;quot;deep&amp;quot; has led to large-scale semantic research. Because semantics is closely related to translation research, Chomsky's theory has promoted the development of translation theory in the United States and even the whole west.(Xie Tianzhen ,2003:200)&lt;br /&gt;
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Therefore, under the influence of various linguistic theories, many people try to put forward new translation concepts and research methods. These people can be collectively referred to as the structural School of American translation theory.Among them, the main characters include Wojilin, Bolinger, Katz, Quinn and Eugene Nida.&lt;br /&gt;
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Take Wojilin as an example. He is a human linguist.His greatest contribution is to put forward a multi-step translation method (also known as step-by-step translation method).The biggest advantage of his multi-step translation method is that the steps are clear, flexible and easy to master.&lt;br /&gt;
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Using Chomsky's transformational generative theory, Boringer puts forward a concept of structural translation as opposed to lexical translation.Based on structural linguistics, Katz makes a profound analysis of the translatability of language and the philosophical problems in language and translation.Based on the discussion of strange language, Quinn expounds some basic problems of translation from the perspective of philosophy, which has aroused great repercussions in the field of western translation theory.(Tan Zaixi,1999:250)&lt;br /&gt;
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The third characteristic of the development of American translation theory is that it has a tendency to catch up with others in research results.One of the most prominent scholars is Eugene Nida. Although he is an outstanding linguist, his views on &amp;quot;translation is science&amp;quot;, &amp;quot;translation is communication&amp;quot;, &amp;quot;translation must pay attention to reader response&amp;quot; and other aspects are an innovation and breakthrough to the previous views. In addition, after Eugene Nida, many scholars have put forward many new views because of their existence,It was only after World War II that American translation theory continued to catch up.&lt;br /&gt;
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Therefore, we will focus on him in the next chapter.&lt;br /&gt;
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On the first point, the inheritance of European tradition in the overall research method of American translation theory is due to its unique language and cultural tradition.As an integral part of the whole culture, translation culture naturally presents the basic characteristics of the development of the whole culture.Since the American culture with English as the national language is mainly inherited from European culture, the development of American translation culture, as an integral part of American culture, also inherits European translation culture.Especially in the early stage of the development of American translation theory, many influential people engaged in translation studies were immigrants from Europe or descendants of recent European immigrants.(corrected by --[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:48, 14 December 2021 (UTC))&lt;br /&gt;
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==Chapter2 Eugene Nida's translation theory==   &lt;br /&gt;
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Eugene Albert Nida (1914 -) was born in Oklahoma City in the south central United States. He graduated from the University of California, Los Angeles in 1936. In 1943, he worked in Bloomfield and fries (Charles fries received his doctorate in linguistics under the guidance of two famous scholars. As the leading translation theory figure in contemporary America, Nida has also engaged in research in linguistics, semantics, anthropology and communication engineering. Before his retirement in the 1980s, he worked in the Translation Department of the American Holy Bible Association and served as the executive secretary of the translation department for a long time. He is mainly engaged in the Bible Organization of translation and revision of translations and the Bible Training and theoretical guidance for translators. He is proficient in many languages and has investigated and studied more than 100 languages, especially some small languages in Africa and Latin America. In 1968, he served as the president of the American language society. Although he does not take teaching as his career, he has extremely rich experience in Translation training and lecturing. In addition to a long-term part-time job, he speaks linguistics in the famous American summer In addition to teaching linguistics and translation courses in the Institute, he also served as a guest lecturer and professor in many American universities. He was often invited to give short-term lectures in Europe, Latin America, Africa and Asia, and won several honorary doctorates. In order to recognize his contribution to translation research, especially in the field of Bible translation research, the American Bible Association named the Institute after him in 2001 In particular, Nida has deep feelings for China. Since 1982, he has been invited to give lectures in China more than ten times, and has maintained close academic contacts and exchanges with many schools and academic colleagues in China for a long time.(Tan Zaixi,2000:247)&lt;br /&gt;
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Nida is a prolific language and translation theorist. From 1945 to 2004, he published  more than 200 articles and more than 40 works (including works cooperated and edited with others). Among them, there are more than 20 works on language and translation theory, and a  collection of papers has been published. &lt;br /&gt;
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His research achievements include  &amp;quot;Toward a Science of Translating&amp;quot;   published  in 1964,  &amp;quot;The Theory and Practice of Translation&amp;quot;  Co authored with Charles Taber in 1969,  &amp;quot;Com ponential Analysis of Meaning &amp;quot;  published in 1975 and  &amp;quot;language structure and Translation&amp;quot; . Nida's anthology  &amp;quot;Language Structure and Translation : Essays by Eugene A. Nida，ed. by Anwar S. Dil&amp;quot; ,  &amp;quot;From One Language to Another&amp;quot; , co authored with de warrd in 1986,  &amp;quot;The Sociolinguistics of Interlingual Communication&amp;quot; , published in 1996 and published in 2001  &amp;quot;Language and Culture :Contertsin Translating&amp;quot; .(Xie Tianzhen.2003:212)&lt;br /&gt;
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Throughout Nida's translation thought, we can divide it into three main development stages: the linguistic stage with obvious American structuralism in the early stage, the stage of translation science and translation communication in the middle stage, and the stage of social semiotics.&lt;br /&gt;
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The first major stage is the linguistic stage, from 1943 when he wrote his doctoral thesis &amp;quot;a summary of English syntax&amp;quot; to 1959  when he published &amp;quot;principles of translation from biblical translation&amp;quot;.At this stage, he tries to clarify the structural nature of language through the description of syntax, morphology and language translation.In his early days, he was greatly influenced by American structuralist Bloomfield and human linguist Sapir, and paid attention to the collection and analysis of language materials in language research.Through the opportunity to visit and contact different languages all over the world, many examples of speech differences are collected.However, he does not regard speech differences as insurmountable obstacles between languages, but as different phenomena of the same essence.&lt;br /&gt;
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The second development stage of Nida's translation thought is the stage of translation science and translation communication. It took 10 years from the publication of &amp;quot;principles of translation from biblical translation&amp;quot; in 1959 to the publication of &amp;quot;translation theory and practice&amp;quot; in 1969.The research achievements at this stage have played a key role in establishing Nida's authoritative position in the whole western translation theory circle.&lt;br /&gt;
By summarizing this main development period, the main contents of the following five aspects can be summarized:&lt;br /&gt;
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（一）Translation science.Nida believes that translation is not only an art, a skill, but also a science.The so-called science here means that translation problems can be handled by &amp;quot;scientific approaches to language structure, semantic analysis and information theory&amp;quot;, that is, a linguistic and descriptive method can be adopted to explain the translation process.If the principles and procedures of translation seem to be normative, it is only because they are generally considered to be the most useful in a specific scope of translation.Nida's view that &amp;quot;translation is science&amp;quot; has had great repercussions in the field of western linguistics and translation theory.&lt;br /&gt;
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（二） Translation communication theory. Nida applies communication theory and information theory to translation studies and holds that translation is communication. After World War II, not only advertisers, politicians and businessmen attached great importance to the intelligibility of language, but also scholars, writers, editors, publishers and translators realized that any information would be worthless if it could not play a communicative role. Therefore, to judge whether a translation is successful, we must first see whether it can be immediately understood by the recipient and whether it can play a role in the communication of ideas, information and feelings. Therefore, in the field of translation research, various names and statements such as &amp;quot;communicative translation&amp;quot;, &amp;quot;functional translation&amp;quot; and related &amp;quot;equal response theory&amp;quot;, &amp;quot;equal effect theory&amp;quot;, &amp;quot;equal role theory&amp;quot; and &amp;quot;equal power theory&amp;quot; have sprung up one after another. Nida's &amp;quot;translation is communication&amp;quot; and his &amp;quot;reader response theory&amp;quot; and &amp;quot;dynamic equivalence&amp;quot; discussed below“ &amp;quot;Functional equivalence&amp;quot; has become an important representative of the communicative school in the field of western translation studies.&lt;br /&gt;
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Nida's theory of &amp;quot;translation is communication&amp;quot; is based on the theory of language commonality. Nida, like Jacobson, believes that all languages in the world have the same expression ability, which can enable native speakers of the language to express ideas, describe the world and carry out social communication. His argument is based on the same &amp;quot;identity&amp;quot; For example, in countries with relatively developed productive forces, many scientific and technological words will appear in their languages, while in countries with less developed or very low productive forces, there may be a lack of scientific and technological words in their languages. However, this does not mean that the latter has the same expressive ability as the former, but only shows that people have different requirements for languages in different languages, It is not because the language cannot produce scientific and technological vocabulary, but because the speakers of the language do not have or temporarily do not have the requirement to use scientific and technological vocabulary. Once there is such a requirement, there will be corresponding vocabulary in the language, or &amp;quot;native&amp;quot; scientific and technological vocabulary, or &amp;quot;foreign&amp;quot; vocabulary transplanted from foreign words. In short, the expression efficiency of various languages is the same.&lt;br /&gt;
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Nida believes that the primary task of translation is to make it clear to the readers at a glance after reading the translation. That is to say, the translation should be fluent and natural, and the readers can understand it without the knowledge of the cultural background of the source language. This requires that rigid foreign words should be used as little as possible in translation, and expressions belonging to the receiving language should be used as much as possible. For example, in a Sudanese language, for If the expression &amp;quot;repent and reform&amp;quot; is translated directly, it will make people feel at a loss, and it should be translated into the local familiar &amp;quot;spitting on the ground in front of someone&amp;quot;. For example, in the language without &amp;quot;Snow&amp;quot;, white as snow may be puzzling, but it should be said &amp;quot;white as frost&amp;quot; or &amp;quot;white as egret hair&amp;quot; Another example is that in the ancient West, the habit of people meeting and greeting each other was &amp;quot;sacred kiss&amp;quot;, but now it should become &amp;quot;very warm handshake&amp;quot;.(Nida·Eugene,1996:234）&lt;br /&gt;
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In a sense, the theory of translation communication is not only one of the main symbols of Nida's second development stage of translation thought, but also one of the biggest characteristics of his whole ideological system.Especially after the publication of translation theory and practice, Nida's translation communication theory has had a great impact on the western translation circles, including those in Eastern Europe and the Soviet Union.&lt;br /&gt;
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（三） Dynamic equivalence theory.The so-called dynamic equivalence translation is actually translation under the guidance of translation communication theory. Specifically, it refers to &amp;quot;reproducing the source language information with the closest (original) natural equivalence in the receiving language from semantics to style&amp;quot;.In this definition, there are three key points: one is &amp;quot;nature&amp;quot;, which means that the translation cannot have a translation cavity;The second is &amp;quot;close&amp;quot;, which refers to selecting the translation with the closest meaning to the original text on the basis of &amp;quot;nature&amp;quot;;The third is &amp;quot;equivalence&amp;quot;, which is the core.Both &amp;quot;nature&amp;quot; and &amp;quot;close&amp;quot; serve to find equivalents.&lt;br /&gt;
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（四） Translation function theory.From the perspective of sociolinguistics and language communicative function, Nida believes that translation must serve the reader.To judge whether a translation is correct or not, we must take the reader's response as the criterion.If the response of the target readers is basically the same as that of the original readers, the translation can be considered successful.&lt;br /&gt;
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（五） Four step model.This refers to the translation process.Nida puts forward that the process of translation is: analysis, transfer (transfer the meaning obtained from the analysis from the source language to the receiving language), reorganization (reorganize the translation according to the rules of the receiving language), and inspection (detect the target text against the source text).Among these four steps, &amp;quot;analysis&amp;quot; is the most complex and key, which is the focus of Nida's translation research.The focus of the analysis is semantics. He distinguishes four parts of speech from the perspective of semantics: object words, activity words, abstract words and relational words.In semantic analysis, he introduced three methods: linear analysis, hierarchical analysis and component analysis.In the specific analysis of semantics, he focuses on grammatical meaning, referential meaning and connotative meaning (or emotional meaning and associative meaning).These distinction theories are of great significance to understand his translation thought.&lt;br /&gt;
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Nida's research achievements in the 1980s can be regarded as the third stage of translation thought.He has made a series of modifications and supplements to his translation theory.He did not completely abandon the theory of the original communicative school, but further developed on the original basis and incorporated the useful elements of the original theory into a new model, which is the social semiotics model in the third development stage translation thought.&lt;br /&gt;
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Compared with previous works, Eugene Nida has the following four changes and developments in from one language to another: first, based on the translation theory of social semiotics, he emphasizes that everything in the text has meaning, including speech form, so form cannot be easily sacrificed.That is to say, form is also meaningful. Sacrificing form means sacrificing meaning.Secondly, it points out that the rhetorical features of language play an important role in language communication, so we must pay attention to these features in translation.Third, the theory of &amp;quot;dynamic equivalence&amp;quot; is no longer used, but replaced by &amp;quot;functional equivalence&amp;quot;, which is intended to make the meaning of the term clearer and easier to understand.Fourth, instead of using the distinction of grammatical meaning, referential meaning and associative meaning, meaning is divided into rhetorical meaning, grammatical meaning and lexical meaning, and all kinds of meaning are divided into referential meaning and associative meaning.From the whole historical process of the development of translation theory, it should be said that these changes are basically positive.(Nida·Eugene,1996:222）&lt;br /&gt;
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Of course, his theory and works are not perfect.First, his theory focuses too much on solving the problems of communicative and intelligibility of translation, so its scope of application is limited.It is natural to emphasize the intelligibility of the translation in the field of Bible translation, but if the intelligibility of the translation is always put in the first place in the translation of secular literary works, it will inevitably lead to the simplification and even non literariness of the translated language.&lt;br /&gt;
&lt;br /&gt;
Second, he no longer completely negates &amp;quot;formal correspondence&amp;quot;, but believes that the expression form of the original text cannot be broken at will in translation.In order to expand the scope of application of his theory, he also added rhetoric.However, despite his amendments, he failed to elaborate more deeply on his new views.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Eugene Nida once put forward the proposition that &amp;quot;translation is science&amp;quot;, and then basically abandoned this proposition.Whether he put forward or gave up, he did not put forward sufficient and convincing arguments, which can not be said to be a major defect.&lt;br /&gt;
&lt;br /&gt;
Of course, Nida's theory and works are not perfect. Firstly, his theory focuses too much on solving the problems of communicative and intelligibility of translation, so its scope of application is limited. It is natural to emphasize the intelligibility of the translation in the field of Bible translation, but if the intelligibility of the translation is always put in the first place in the translation of secular literary works, it will inevitably lead to the simplification and even non literariness of the translated language. Newmark, a British translation theorist, once pointed out: &amp;quot;if we delete all the metaphors in the Bible that Doneda believes readers cannot understand, it will inevitably lead to a large loss of meaning.&amp;quot; . an important feature of literary works is that they use more metaphorical and novel language. The author's real intention may have to taste and capture between the lines. If all the metaphorical images in the original work are deleted and all the associative meanings are clearly stated, the result will be that the translation is easy to understand, but it is dull and can't reach To the purpose of literature. In recent years, Nida has become more and more aware of this, and has constantly revised and improved some of his past views. For example, he later no longer focused on the intelligibility of the translation, but advocated a &amp;quot;three nature principle&amp;quot;, that is, the principle of paying equal attention to comprehensibility, readability and acceptability. In addition, he no longer completely denied &amp;quot;formal correspondence&amp;quot; In order to expand the scope of application of his theory, he especially added rhetoric. However, despite Nida's amendments, he failed to make a more profound exposition of his new views; he was only aware of the existence of the problem rather than successfully solving the relevant problems Besides, Nida once put forward the proposition that &amp;quot;translation is science&amp;quot;, and then basically gave up this proposition. Whether he put forward or gave up, he did not put forward sufficient and convincing arguments, which is a major defect.&lt;br /&gt;
&lt;br /&gt;
Of course, flaws do not hide the jade. Looking at Nida's lifelong contributions, he is one of the most outstanding theoretical figures in the field of contemporary translation studies in the United States and even the whole west. The historical theory of the development of western translation theory should give him a heavy pen.(Tan Zaixi,2000:257)&lt;br /&gt;
&lt;br /&gt;
==Chapter3 Robert Boogrand's translation theory==&lt;br /&gt;
&lt;br /&gt;
Since the 1970s, more voices outside the structural language school and the communicative school have gradually emerged in the field of translation studies in the United States, especially the voice of discourse linguistics theory and discourse analysis represented by Robert Boogrand.&lt;br /&gt;
Boogrand teaches in the English Department of the University of Florida and is engaged in the study of literary discourse rhetoric and grammatical structure.In 1978, he published a book called &amp;quot;elements of translation theory of poetry&amp;quot;), which was listed as one of the Translation Studies Series edited by Holmes and attracted extensive attention.(Xie Tianzhen,2003:56)&lt;br /&gt;
&lt;br /&gt;
Boogrand's view is: 1. The unit of translation is not a single word or sentence, but the whole text.2. Translation is a process of interaction among authors, translators and readers.3. What is worth studying is not the characteristics of the article itself, but the skills of language use reflected in these characteristics.&lt;br /&gt;
&lt;br /&gt;
After the publication of the above translation theory works guided by the thought of discourse linguistics in 1978, Boogrand continued to engage in the research of language and translation along the same line, and more than ten relevant works (including Works CO authored and co edited with others) have been published successively, mainly including discourse, discourse and process: multidisciplinary discourse science exploration Linguistic Theory: Discourse of basic works, introduction to discourse linguistics, language discourse, Western and Middle East translation Boogrand has always expounded language and translation from the perspective of discourse linguistics, thus establishing his important position as the leader of discourse linguistics in the field of British and American translation studies. Boogrand's contribution as one of the pioneers of discourse analysis and discourse linguistics in translation studies is very important and worthy of full recognition.(Tan Zaixi,2000:256)&lt;br /&gt;
&lt;br /&gt;
==Chapter4 Andre Lefevere's translation theory== &lt;br /&gt;
 &lt;br /&gt;
With the development of the times, translation studies in the United States, like other parts of the west, have been continuously improved in theoretical depth. By the 1990s, the focus of theorists' discussion on translation has gradually separated from the previous specific translation processes and methods, and turned more to the fundamental nature of translation, translation and ideology, translation and culture. This chapter introduces Andre Leverville's translation theory.&lt;br /&gt;
Andre Leverville, a professor of translation and comparative literature at the University of Texas at Austin, originally from Belgium, is a very important theoretical figure in the field of Contemporary Western comparative literature and translation research. We can discuss his main ideas from the following two aspects.&lt;br /&gt;
&lt;br /&gt;
(一)The cultural turn in translation studies. It is a common feature of all cultural schools to turn the focus of translation studies from the language structure and language form correspondence that language schools are most concerned about to the meaning and function of the target text and the source text in their respective cultural systems. He believes that any literature must survive in a certain social and cultural environment, and its meaning and value Value, as well as its interpretation and acceptance, will always be affected and restricted by a series of interrelated and mutually referenced factors, including both internal and external factors of literature. Therefore, as far as translation research is concerned, the goal of the research is far from limited to exploring the equivalence or equivalence of the two texts in language forms, but to explore at the same time.Study various cultural issues directly or indirectly related to translation activities.&lt;br /&gt;
&lt;br /&gt;
（二） The concept of manipulation in translation. When talking about and describing the basic characteristics of the cultural school, we often can not do without using the word &amp;quot;manipulation&amp;quot;. Here, &amp;quot;manipulation&amp;quot;It is not emotional, but a special term representing the concept of neutrality. According to the translation operation of Andre Leverville and others, the core meaning is that in the process of processing the source text and generating the target text, the translator has the right and will rewrite the text in order to achieve a certain purpose. Andre Leverville believes that translation is a reflection of the image of the text.Other literary forms such as literary criticism, biography, literary history, drama, film, fiction and so on are also the rewriting of the text image, and rewriting is the manipulation of the text.&lt;br /&gt;
&lt;br /&gt;
（三） Obviously, the manipulative rewriting in Lefevere and his cultural school theory is not simply equivalent to &amp;quot;Rewriting&amp;quot; in the general sense, because in his view, all translation is rewriting, even the &amp;quot;most faithful&amp;quot;Translation is also a form of rewriting. As a translation manipulator, this rewriting or manipulation should be regarded as a cultural necessity in essence. In the process of translation, the translator is bound to be affected and restricted by various social and cultural factors. In addition to considering all the characteristics related to the source text, such as the original author's intention, the context of the source text and so on, the more important thing is toIt is necessary to consider a series of factors related to the target or receiving culture, such as the purpose of translation, the function of the target text, the expectations and reactions of readers, the requirements of clients and sponsors, and the review of the publishing and distribution organization of the work. The existence of these factors and the degree of constraints imposed by the translator on them vary from person to person constitute the inevitable &amp;quot;manipulation&amp;quot; condition of the translator on the text.&lt;br /&gt;
For &amp;quot;manipulation&amp;quot; in this sense, we can not judge it by moral value words such as &amp;quot;legitimate&amp;quot; or &amp;quot;improper&amp;quot;, but only by the &amp;quot;appropriateness&amp;quot; criteria such as whether the target text has achieved the purpose of translation, whether it meets the expectations of the audience, and whether it can be accepted by the accepted culture.&lt;br /&gt;
&lt;br /&gt;
==Chapter5 Lawrence Venudi's translation theory== &lt;br /&gt;
 &lt;br /&gt;
It is precisely because the cultural school or manipulation school, and even the polysystem school, in translation studies have established a relationship with the theory of domestication and Foreignization in translation, that a new group of scholars and viewpoints have emerged. In the field of American translation studies, Lawrence Wenudi is the most vocal theoretical figure on the issues of &amp;quot;domestication&amp;quot; and &amp;quot;Foreignization&amp;quot;.&lt;br /&gt;
As an English professor at Temple University in Philadelphia, winudi is one of the most active and influential figures in the field of American translation theory since the 1990s. Winudi belongs to the deconstruction school in translation studies, that is, what genzler calls the &amp;quot;post structuralism school&amp;quot;In his works on translation studies, Venuti advocates that literary translation should not aim at eliminating alien features, but should try to show cultural differences in the target text.&lt;br /&gt;
&lt;br /&gt;
Venuti's main view is that it is wrong to require the translator to be invisible in translation; the translator should not be invisible in the translation, but should be visible. That is to say, translation should adopt the principle and strategy of &amp;quot;alienation&amp;quot; to keep the translation exotic and exotic, and read like the translation, rather than &amp;quot;domestication&amp;quot;So that the translation can be transformed completely in accordance with the ideology and creative norms of the target culture. It doesn't read like foreign works, but the original of the target language.&lt;br /&gt;
&lt;br /&gt;
However, translation has never been carried out in an unaffected way. Foreignization translation and domestication translation are actually the products of translation activities affected. From the perspective of translation ethics, it is difficult to assert which is good or which is bad, because translation reality shows that the two play irreplaceable roles in the target language and culture and complete their respective missions.Therefore, the two kinds of translation will always coexist and complement each other.&lt;br /&gt;
&lt;br /&gt;
==Chapter6 Edwin Gensler's translation theory==&lt;br /&gt;
 &lt;br /&gt;
Edwin Genzler is the director of the translation center of Amherst University of Massachusetts, doctor of comparative literature and professor of translation. His famous translation work is contemporary translation theory published in 1993 and reprinted in 2001.&lt;br /&gt;
&lt;br /&gt;
Genzler's contribution to translation theory is mainly reflected in the following three aspects:&lt;br /&gt;
First, it comprehensively combs the contemporary western translation theories, so as to clarify people's understanding of various western translation theory schools since World War II, and thus arouse the research interest in all kinds of contemporary western translation theories in the field of translation studies (including China's Translation Studies).In contemporary translation theory, Genzler studies translation from different perspectives such as scientific theory, polysystem theory and deconstruction. By exploring the &amp;quot;political reality&amp;quot; outside translation (literary translation practice), he outlines the outline of contemporary western translation research and guides readers to rethink a series of theoretical issues such as the definition and classification of translation.&lt;br /&gt;
&lt;br /&gt;
Secondly, on the basis of comprehensively and systematically combing various contemporary western translation thoughts and theories, Genzler puts forward a multi-channel cooperative translation research view of &amp;quot;fair treatment of all systems&amp;quot;.He believes that contemporary translation theory, like literary theory, originates from structuralist theory.All these structuralist or post structuralist theories have been confined to their respective academic circles for a long time.Various schools have very special requirements for the terms used in this system, and the terms are limited;Their pursuit of &amp;quot;correctness&amp;quot; or &amp;quot;objectivity&amp;quot; of theory tends to be one-sided, and they all try to gain universal recognition in the academic circles at the expense of other perspectives.The result is only the continuous conflict between theories, but there is no due cooperation and exchange between theories, which leads to the marginalization of academic research.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Genzler puts forward a post structuralist interpretation model of the essence of translation.In translation, post structuralism and power, he analyzes the deconstruction (post structuralism) thoughts of Derrida, Spivak and others, as well as the translation thoughts of translation theorists such as Wenudi, Levin and Robinson under the influence of their deconstruction thoughts, and points out that the new translation interpretation model can no longer follow the past tradition and simply define translation as&amp;quot;The transformation from a single language to another single language&amp;quot;, but it should be regarded as the transformation between a multicultural form environment and another equally multicultural form environment.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
In addition to the above-mentioned important theoretical figures in the field of contemporary American translation studies, many others, such as Roberto Tradu, Daniel Shaw, Burton Raphael and so on, have also made achievements in translation theory. However, due to space constraints, they cannot be discussed in detail here.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, due to the historical origin and the influence of the subject's immigrant culture, the initial development of American translation studies depends on the inheritance and promotion of the tradition of European translation theory. With the evolution of the times, American translation studies catch up with each other in many aspects with rapid development and fruitful achievements, and walk in the forefront of western translation studies, becoming the driving force of contemporary western translation theory. On an important force for forward development.&lt;br /&gt;
&lt;br /&gt;
In addition to the above-mentioned important theoretical figures in the field of contemporary American translation studies, many others, such as Roberto Tradu, Daniel Shaw, Burton Raphael and so on, have also made achievements in translation theory. However, due to space constraints, they cannot be discussed in detail here.&lt;br /&gt;
&lt;br /&gt;
Generally speaking, due to the historical origin and the influence of the subject's immigrant culture, the initial development of American translation studies depends on the inheritance and promotion of the tradition of European translation theory. With the evolution of the times, American translation studies catch up with each other in many aspects with rapid development and fruitful achievements, and walk in the forefront of western translation studies, becoming the driving force of contemporary western translation theory. On an important force for forward development.(corrected by--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:48, 14 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==reference==&lt;br /&gt;
&lt;br /&gt;
Lefevere·André. (1980). Translating literature [M]. New York:Clarendon Press.&lt;br /&gt;
&lt;br /&gt;
Newmark·Peter. （1978）.The theory and the craft of translation [M].London:Rountledge Press.&lt;br /&gt;
&lt;br /&gt;
Nida·Eugene.（1996）.The Sociolinguistics of Interlingual Communication [M]. Brussels:Editions du Hazard.&lt;br /&gt;
&lt;br /&gt;
Katz·Jerrold J. （1966）.The Philosophy of Language [M]. New York:Harper and Row.&lt;br /&gt;
&lt;br /&gt;
Pound，E. 1917. Notes on Elizabethan classicists [M]. New York:Clarendon Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜. (1999).《新编奈达论翻译》[M] New Nida on Translation. 北京:中国对外翻译出版公司 Beijing: China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜. (2000).《翻译学》[M] Translatology. 武汉:湖北教育出版社 Wuhan: Hubei Education Press.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振. (2003).《翻译研究新视野》[M].New perspectives in Translation Studies. 青岛:青岛出版社 Qingdao: Qingdao Press.&lt;br /&gt;
&lt;br /&gt;
中国对外翻译出版公司（编).(1983).《翻译理论与翻译技巧论文集》[M].Collection of Papers on Translation Theory and Translation Skills. 北京:中国对外翻译出版公司Beijing: China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
中国对外翻译出版公司（编).(1983).《国外翻译理论评介文集》[M].A Review of Foreign Translation Theories. 北京:中国对外翻译出版公司 Beijing: China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
--[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 16:11, 8 December 2021 (UTC)Liu Wei&lt;br /&gt;
&lt;br /&gt;
=周俊辉Translation of Science and Technology in Late Qing Dynasty and Early Republic of China=&lt;br /&gt;
[[Hist_Trans_EN_10]]&lt;br /&gt;
&lt;br /&gt;
=周玖Translation of Science and Technology in Ancient China=&lt;br /&gt;
[[Hist_Trans_EN_11]]&lt;br /&gt;
&lt;br /&gt;
=钟雨露Western Translation History in the Old Ages=&lt;br /&gt;
[[Hist_Trans_EN_12]]&lt;br /&gt;
&lt;br /&gt;
=钟义菲: The Chinese Translation History in Mordern Age=&lt;br /&gt;
[[Hist_Trans_EN_13]]&lt;br /&gt;
&lt;br /&gt;
=魏楚璇: Western translation history in the Modern and Contemporary Ages=&lt;br /&gt;
[[Hist_Trans_EN_14]]&lt;br /&gt;
&lt;br /&gt;
=Mahzad Heydarian: Where Persian Language Meets Translation=&lt;br /&gt;
&lt;br /&gt;
Where Persian Language Meets Translation&lt;br /&gt;
&lt;br /&gt;
By Mahzad Sadat Heydarian&lt;br /&gt;
&lt;br /&gt;
Hunan Normal University- China&lt;br /&gt;
&lt;br /&gt;
This paper is a journey to the history of Persian language and the presence of translation into/from Persian in different historical eras. Translation has been influenced by many social and intercultural factors throughout history; in this paper, its functions from ancient Persia to the contemporary era will be surveyed. &lt;br /&gt;
&lt;br /&gt;
Key Words: Translation history, Persian language, Arabic influence, Medieval era &lt;br /&gt;
&lt;br /&gt;
Persian Language, known as the language of great literary works by Hafez, Khayyam, Rumi and many other classical and modern poets and writers, has always been an interesting subject to study. Looking for its roots and origins and how it is changing and developing has been the interest of many linguists around the world. Like other important languages, Persian has developed and gradually changed in different eras in history. It seems that writings on translation history suffer from severe shortcomings. What is overlooked by the researchers of Persian translation history is to clarify the distinction between oral and written translation. These two have proved to be completely different subjects while they have been mixed when the writers judge its ups and downs in a specific period of time. Moreover, in the relatively limited knowledge of Persian translation history, the thematic classification of translations (e.g. literary, scientific, etc.) have not been considered.&lt;br /&gt;
&lt;br /&gt;
Another common but important deficiency of such historiography is the lack of scientific consideration of the source and target texts, based on advances in the study of translation during the past three decades. The socio-cultural aspects of translation have rarely been surveyed, nor has the linguistic process of evolution of Persian historically been studied. Despite the importance of such inquiries, in most studies done by the Persian writers we could rarely find traces of identifying the direction of source and target texts, let alone contemplating the process and product as two imperative factors in any study of translation. Abdolhossein Azarang, whose history of translation comes with these problems admits that none of available historical books, including his, could be mentioned as a survey without offering at least a set of simple comparisons between the source and target texts in each era (Azarang, “Tarikhe” 9).&lt;br /&gt;
&lt;br /&gt;
To our knowledge Persian has gone through three main changes over the years: starting from Old Persian, in transformed into Middle Persian, also known as Pahlavi, and was finally modernized into contemporary Persian—which is in use today in Iran, Afghanistan and parts of Central Asia. Persian is a branch of the Indo-European languages. As Ahmad Karimi-Hakkak (493) mentions “Over a millennium this language has been the primary means of daily discourse as well as the language of science, art and literature on the Iranian plateau.” He indicates that “Old Persian was brought into Iranian plateau in the second millennium BC by Eurasian steppes. In time, it became the language of the Achamenians (559-339 BC), a dynasty of kings who established the largest, most powerful empire in the ancient world” (493). &lt;br /&gt;
&lt;br /&gt;
Among the encyclopedic references, Britannica has put forward a good remark for the root and divisions of Middle Persian with more detailed information. It mentions that:&lt;br /&gt;
Middle Persian is known in three forms, not entirely homogeneous—inscriptional Middle Persian, Pahlavi (often more precisely called Book Pahlavi), and Manichaean Middle Persian. The Middle Persian form belongs to the period 300 BCE to 950 CE and was, like Old Persian, the language of southwestern Iran. In the northeast and northwest the language spoken was Parthian, which is known from inscriptions and from Manichaean texts. There are no significant linguistic differences in the Parthian of these two sources. Most Parthian belongs to the first three centuries CE.&lt;br /&gt;
&lt;br /&gt;
Nonetheless, the Middle Persian script was abandoned in favor of the Arabic script and led to many new linguistic alterations in Persian. According to Karimi-Hakkak “The new script was far simpler and more advanced. In addition, where the Arabic script lacked essentially Persian consonants these were added to it. In short, the adoption of the Arabic script for Persian did not give rise to ruptures as significant as certain modernist reformers have assumed it did” (494). Therefore, the start of the most significant change in the Persian language dates back to the seventh century when Islam started to take over the Iranian plateau. This led Persian to find many new scopes. By adopting the Arabic alphabet, Persian became even stronger and further blossomed into many classical literary works in the following centuries.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Among the encyclopedic references, Britannica has put forward a good remark for the root and divisions of Middle Persian with more detailed information. It mentions that: Middle Persian is known in three forms, not entirely homogeneous—inscriptional Middle Persian, Pahlavi (often more precisely called Book Pahlavi), and Manichaean Middle Persian. The Middle Persian form belongs to the period 300 BCE to 950 CE and was, like Old Persian, the language of southwestern Iran. In the northeast and northwest the language spoken was Parthian, which is known from inscriptions and from Manichaean texts. There are no significant linguistic differences in the Parthian of these two sources. Most Parthian belongs to the first three centuries CE.&lt;br /&gt;
&lt;br /&gt;
Nonetheless, the Middle Persian script was abandoned in favor of the Arabic script and led to many new linguistic alterations in Persian. According to Karimi-Hakkak “The new script was far simpler and more advanced. In addition, where the Arabic script lacked essentially Persian consonants these were added to it. In short, the adoption of the Arabic script for Persian did not give rise to ruptures as significant as certain modernist reformers have assumed it did” (494). Therefore, the start of the most significant change in the Persian language dates back to the seventh century when Islam started to take over the Iranian plateau. This led Persian to find many new scopes. By adopting the Arabic alphabet, Persian became even stronger and further blossomed into many classical literary works in the following centuries.&lt;br /&gt;
&lt;br /&gt;
The need for translation soon of course rose in a language like Persian spoken by large populations and used by different dynasties. Persian language had remained consistent and independent by asking the translation firstly and more importantly from Arabic. The language itself has neither been replaced by any other languages nor substantially changed during the centuries. That is why a Persian speaker today can effortlessly understand and enjoy the language of Hafez or Rudaki, the famous poets who lived in the 14th and 9th centuries, respectively.&lt;br /&gt;
&lt;br /&gt;
The need for translation soon of course rose in a language like Persian spoken by large populations and used by different dynasties. Persian language had remained consistent and independent by asking the translation firstly and more importantly from Arabic. The language itself has neither been replaced by any other languages nor substantially changed during the centuries. That is why a Persian speaker today can effortlessly understand and enjoy the language of Hafez or Rudaki, the famous poets who lived in the 14th and 9th centuries, respectively. &lt;br /&gt;
&lt;br /&gt;
The traces of written translation in different periods of the history of Persian language have mostly been based on the king’s demands or special order by one of the influential people in the royal court, mostly for their immediate political needs. This history, before the last century, has was interwoven with political, sometimes military and less commonly scientific texts. Therefore, individual or freelance translators who had been engaged in translation of literary works, or the Persian scientists who were keen to translate texts into Persian are absent in many historical periods. Azarang (15), studying the history of Safavid dynasty (1501–1736), in which Iran had lot of communications with Europe, has associated this strange phenomenon to the lack of concern and interest for learning and evolving in Persian travelers or dispatched students who commute to western countries. He believes that Iran missed a unique opportunity to use the scientific benefits for fundamental changes during Safavid dynasty, which was concurrent with the scientific and industrial transformations of Europe. As we will see, the attempts for translating texts for Iranian users were mostly confined to translation into Arabic instead of Persian as the main language of the whole plateau in post-Islamic era. The new movement of translating texts from different subjects into Persian was seen some 100 years after Safavid kings, during mid-Qajar era (1795–1925).&lt;br /&gt;
&lt;br /&gt;
In this article a historical investigation of Persian translation is presented based on what is available in collecting books and articles, mostly based on four important references: Karimi-Hakkak’s article in Encyclopedia of Translation Studies (1998), Daeratol’ma’aref-e Bozorg-e Eslami (2008), Behrouz Karoubi’s important article (2017), and Azarang’s detailed chronological event book (2015). The study has been divided into five sections based on the five historical periods: Ancient Persia, Medieval Persian, The Mongol Era, Post-Mongol Era, and the Modern Period. This is more or less the same division done by Karimi-Hakkak, as the main resource of this article, but with a specific extension. This investigation refers primarily to translation into Persian and some comparatively rare cases of translation from Persian into the other languages, will exclusively be dealt with.&lt;br /&gt;
&lt;br /&gt;
Ancient Persia (Before 651)&lt;br /&gt;
Karimi-Hakkak (493) mentions that “Translation into Persian has a long and eventful history; it has played an important part in the evolution of Iranian and Iranate civilizations throughout Western Asia and beyond.” We see the first traces of translation in medieval Persia, in which close contact and interface between Arabic and Persian occurred. He claims that “The Achamenian empire was multilingual, and many of its documents were written not only in various language of the empire, but in Babylonian and Elamite as well. Still our information about specific translation activities among these languages is too sketchy to allow any in-depth discussion of trends and patterns.” Later on, only with the formation of the Sasanian dynasty in Persia (AD 224–652) and the rise of Middle Persian the first authentic historical information about intercultural exchange could be found.&lt;br /&gt;
&lt;br /&gt;
Behistun Inscription as the unique masterpiece in Achamenian’s era is an exclusive phenomenon in the history of translation of the world; Azarang argues that it is one of the most important translated texts in that era as well as one of the examples of precise translation. Translation of Behistun inscribed stone seems to be done by a number of trusted linguists who probably checked the texts’ conformity more than once. This translation shows that a precise translation accompanied by artistic delicacies on the stones had reached a very good level in that time (35).&lt;br /&gt;
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Scholarship suggests that Old Persian was transmitted orally, as we have no written records from that time. There is Avesta, a religious book in what scholars have termed Avestan, a language closely related to Old Persian. Even though it was committed to writing in the fourth century AD, Avesta contains some Zoroastrian hymns thought to be in older Iranian languages” (qtd. in Karimi-Hakkak 493).&lt;br /&gt;
&lt;br /&gt;
Medieval Persian (651-1206)&lt;br /&gt;
In the post Islamic era, the most significant translation works included nearly all of extant translations are from middle Persian into Arabic. This took place, as Karimi-Hakkak mentions, in the hope to save religious or literary works from destruction by transferring them into the newly spread and mostly accepted language which was Arabic at the time.&lt;br /&gt;
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We do not still have access to any written works that reveals the exact historical events in Iran during 100 years after the Arab conquest in the middle of seventh century. We could not find an example of written translated practice in that century either. We know that written Persian had not yet developed much in that time and was not yet common around the country. Furthermore, according to Azarang, knowing the relation between some Iranians and Arab people seems not to be possible at the end of the century to understand the related linguistic relations. In the second century after Islam, however, we have evidence to show that some Iranian scientists who learned Arabic started to translate medieval works from Persian to Arabic in the fields of philosophy, logic, astronomy, medicine, pharmacology, ethics, and culture (Azarang, 95).&lt;br /&gt;
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In Medieval era almost all Persian writers and scholars were bilingual, as the dominant language especially for writing was Arabic; by most of experts and philosophers. Karimi-Hakkak puts forward a list of famous internationally recognized Persian celebrities when he states that “in addition to the historian Tabari and physician and philosopher Avicenna, three of the greatest Islamic theologians – the Shi’ite Mohammad Tusi (d. 1076), the Sunni reformist Mohammad al-Ghazāli (d. 1111), and the Mo‘tazelite Zamakhshari (d. 1144) – who was also a great grammarian and lexicographer – can be counted among these, as can the jurist and philosopher Fakhr al-Din Rāzi (d. 1209)”. These men sometimes prepared Persian versions of the works they had written originally in Arabic, or supervised their students in such tasks. This is one reason why the border between translation and original work, as envisaged in that culture, appears blurred to us (496).&lt;br /&gt;
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This fluidity enabled medieval Persian scientists and philosophers to be original authors and translators at the same time. The absence of proprietary concerns in medieval times further undermines modern-day efforts to distinguish writing from translation. Acts of borrowing, adaptation and appropriation were undertaken in ways that transcend modern classifications. The corpus of philosophical and scientific works in Persian is replete with bilingual texts or hybrids, as well as those in which text and commentary are in two different languages. There are also numerous texts of an indeterminate character; these may or may not be considered original works with later commentaries or annotated translations. Within the terms of medieval Persia, such works must be assumed to have originated in Arabic unless proven otherwise (496).&lt;br /&gt;
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According to Mary Boyce, there was an unfortunate fact that none of the literature of the Parthian period has survived in its original because of their oral form. She explains that our knowledge about Parthian literature is thus mainly through recensions, redactions, or partial translations in Middle Persian (1157–1158). Karimi-Hakkak mentions: “We also know that the Sasanian kings encouraged translations from Greek and Latin. Much historical knowledge, lost to the Persians as a result of the chaos that followed Alexander’s conquest in 330 BC, was regained in this way. The Sasanian monarch Shapur I commissioned many translations from Greek and Indian works to be incorporated into collections of religious texts” (494).&lt;br /&gt;
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Even for the extensive Sassanian literature which we know for certain that many works of other languages were translated into Middle Persian [must be rephrased], we have regrettably no knowledge about the linguistic features of translation that were used by the translators at that time or strategies which have been prevalent (qtd. in Karoubi 596).&lt;br /&gt;
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Many translated works have been reported by Younes Keramati in the 14th century, which were from Persian and Iranian Arabic into Greek. The territories under the rule of the Trabzon Empire, from the early 14th century, witnessed a short resurrection of the translation of Persian works into Greek. The importance of translation between the two languages could be shown when we see that the translation of an astronomical work attributed to Shamsuddin Bukharaei, an Iranian scientist, led to the creation of the new Persian astronomical era in the Trabzon Empire. Among many important translated works, another Byzantine physician named Georgios Choniates translated an important Persian toxicology into Greek. Keramati believes that the superiority of Iranian education in Greece through translation (whether from Arabic or Persian) is proved by the fact that in that age, compared to the translation of many Persian works, not a single work has been translated from Greek into Persian (35).  In an encyclopedic research, Ahmad Pakatchi argues that in translation from Persian to Turkish of Kharazmi, examples of literary works abound. Among them, instead of a precise translation, a kind of literary re-creation has taken place. A good example of this kinds is Khosrow and Shirin from Qutb Kharazmi (in 1341) which is the recreation of the famous poetry of Masnavi of Khosrow and Shirin by Nezami Ganjavi. In addition, the translation of Attar Neyshabouri’s Tazkerat al-Awliya is less changed because of its nature as simple prose but its translation has been done with some variations.&lt;br /&gt;
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As argued by Karimi-Hakkak (494), “in the second half of the seventh century, Islam began to spread over the Iranian plateau gradually but steadily. This marks a unique turning point in the life of Iranians, not only religiously, but culturally and linguistically as well. The Persian language constitutes the most tangible link between Islamic and pre-Islamic Iranian cultures.”&lt;br /&gt;
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Rozveh or Ruzbeh, better known by his Muslim name ‘Abdollāh Ebn-Al-Moqaffa’ (executed about 759), translated the Panchatantra and Khotay-namak (a collection of mythical legends of Persian kings and heroes) into Arabic. In all likelihood, he is also responsible for the translation into Arabic of accounts of the sixth century reformist prophet Mazdak, and that of his followers. Such texts, later translated from Arabic back into New Persian (Karoubi, 494). &lt;br /&gt;
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Hediscovered two parallel tendencies in the eighth and ninth centuries. “The first, consisted of a series of translations made from extant texts into Arabic, later translated back into Persian. The second activity, undertaken by Persian converts to Islam, took the shape primarily of commentaries on the holy Qur’ān’ which could not be translated. Translation strategies were especial in that time in which ‘texts were subjected. to a variety of changes; they were simplified, annotated, abridged, illustrated with pictures and diagrams, mended through sequels, or otherwise altered to suit the specific needs of the patron and the new readership” (Karoubi, 495). &lt;br /&gt;
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The Mongol Era (1206–1368)&lt;br /&gt;
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In line with this classification Karimi-Hakkak states that “following the Mongol and Tartar invasions of the thirteenth through fifteenth centuries, new patterns of interaction emerged between Persian on the one hand and a number of Indian and Turkic languages on the other, making this history even more complex and multifarious.”&lt;br /&gt;
The Mongol conquest of Iran in the thirteenth century gradually put an end to the influence of the Arabic-speaking neighbors of the country and, as a result, led to the reduction of works composed in the Arabic language and the increase in works originally written in Persian. Karoubi refers to Mo’jam as one good example of this tendency. The book is written by Shams-e Qays-e Rāzi’s, as an effort of literary criticism that was originally composed in Arabic and, following the Mongol invasion, rewritten in Persian. In the preface to his book, Qays-e Rāzi claims that he had rewritten it in Persian on the request of many Persian poets and literati who did not possess sufficient knowledge of Arabic and were questioning the rationale behind composing a work on Persian poetic prosody in Arabic, because in their view such a work would be useful neither for the Arab audience, who had no familiarity with Persian language, nor for the Persian readers (see Shams-e Qays-e Rāzi, 1232/ 1935, pp. 17–18) (qtd. in Karoubi 598).&lt;br /&gt;
Nasir al-Din Tusi (d. 1274) translated the Greek basic manuals of mathematics and geometry, including Euclid’s Elements and Theodosius’s Spherica into Arabic, and the astrological judgements of Ptolemy from Arabic into Persian. In each case, he added his own comments to his translations (Karimi-Hakkak 496).&lt;br /&gt;
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The Post-Mongol Era (1368-1789)&lt;br /&gt;
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According to Karimi-Hakkak (497), “by the thirteenth century, Persian was becoming well established in India as the language of religious, literary and legal learning and communication. A number of important translations began to be made from Sanskrit and other Indian languages into Persian.”&lt;br /&gt;
The variations of translation and using different languages in India have been mentioned by him as a result of creation of more multilingual society in the region. He indicates that ‘[w]ords trafficked more freely between Persian and other languages, and a degree of tolerance emerged towards mixed usages. This in turn gave rise to a divergence between the Persian of Iran proper and that of India and Central Asia. Furthermore, translations were now made into Persian not so much from Arabic but from Indian and Turkic languages, as well as English and Russian’.&lt;br /&gt;
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1.	The Modern Period in Iran (after 1789)&lt;br /&gt;
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Karimi-Hakkak (497-498) mentions that with the dominance Russia over Central Asia in the latter part of the nineteenth century, ‘almost all translation activity in Persian-speaking Central Asia was realigned with Chaghatay (later Uzbek) and Russian languages. The latter part of the nineteenth century was very important for the translation movement in Iran and for Persian language’. He adds ‘after a century and a half of political instability, the Qajar dynasty (ruled 1795–1925) had returned a semblance of stability to Iranian society early in the century. More or less regular cultural contact with Europe had begun with the dispatch of Iranian students to Europe, adding to the pressing need for inter-governmental contact”. (497)&lt;br /&gt;
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Azarang (2015) and Karoubi (2017) see the measures done by the famous Qajar Prince, Abbas Mirza, (1789–1833) in the said era as the turning point in the history of translation in Iran. Karoubi mentions that:&lt;br /&gt;
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Following their humiliating defeat by the numerically inferior but technologically superior Russian forces in the Russo-Persian wars (1804–1828), the Iranians started to realize that over 1000 years of having limited political exchange had kept them technologically inferior. Therefore, the defeat in the Russo-Persian war served as a wake-up call for the Iranians to resort to translation as the main means to compensate for their weaknesses. Abbās Mirzā, the Qajar crown prince of Persia, played a very influential role in the initiation of the new translation movement by commissioning the first translations from modern European languages into Persian and dispatching a number of Iranian students to western Europe for education, some of whom later became involved in translation activities. It was also during his reign that lithographic printing was for the first time introduced into Iran. (P. 598)&lt;br /&gt;
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According to a travelogue written by Pierre Amédée Jaubert, the French diplomat and orientalist, who met Fat’h Ali Shah the king of Iran at the time, the king himself was very interested in acquiring the western knowledge, industry and culture, and therefore sought the ways in his mind for transmission of those aspects. Through the relation stablished between French and Iran, Napoleon Bonaparte sent a number of French officers and military experts to Iran. It was when the information about the French army and military regulations was begun to be translated into Persian (Azarang 221) seemingly with supervision of Abbas Mirza. &lt;br /&gt;
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Azarang designates the names of some pioneer translators which were ordered by Abbas Mirza as well as the Western educated individuals who had involved in the new historical movement of translation in the same era. Mirza Saleh Shirazi who was sent to England, for acquiring the printing technology was one of these names. Karimi-Hakkak referred to this phenomenon in era of Qajar Dynasty as “renaissance of translation activity in Iran”. (498)&lt;br /&gt;
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The Next part of this article is the main extract from Karimi-Hakkak article in Encyclopedia of Translation Studies which is the best expression of the history of translation in Iran, since Qajar dynasty.&lt;br /&gt;
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The new translation movement was propelled primarily by the perceived need to gain access to European sciences and technology. Anxious to modernize the Iranian army and bureaucracy, the Qajar state followed the dispatching of groups of students to Europe by the establishment of a polytechnic College, modelled after European institutions of higher education. Established in Tehran in 1852 and known as Dār al-Fonūn (House of Techniques), this institution played a crucial part in modernizing Iran. European teachers were hired to teach a variety of subjects, often with Iranians as their assistants and interpreters. They also prepared a number of textbooks in various sciences which were based largely on European scientific works. Thus, translation and interpreting began to play a crucial part in the evolution of pedagogical processes in modern Iran. (498)&lt;br /&gt;
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Many early Iranian translators of European works were graduates of Dār al-Fonūn. Chief among them was Mohammad-Hasan Khān, better known as E‘temād al-Saltaneh, the last title the court bestowed on him. From 1871 to 1896 E‘temad al-Saltaneh headed a new government office called Dār al-Tarjomeh (House of Translation), designed to coordinate government-sponsored translation and interpreting activities. The office was charged with supervising all state-sponsored translation activities. Under E‘temād al-Saltaneh’s tutelage, many significant European works were made available to Iranians, often from French and frequently in more or less free versions which approached adaptation. (498)&lt;br /&gt;
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Soon, translation activity was directed towards disciplines such as history, politics and literature and became an integral part of various modernization projects. It was almost always undertaken to make Iranians conscious of their own backwardness, in spite of a glorious past. European orientalists had been studying Persian literature and Iranian history with interest and enthusiasm for over a century, and the Romantics had glorified Persian culture and civilization, particularly of pre-Islamic times. Iranians had to be made aware of these works if they were to strive to regain the glory of their ancient culture. (498)&lt;br /&gt;
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In broader terms, translation has been at the base of a great many philosophical and scientific enquiries, cultural speculations, social activities and political agendas in Iran throughout the modern period. It has been the chief means of introducing Iranians to new ideas, schools of thought and literary trends. It has been considered a necessary component of the drive towards modernity, no less so in the Islamic republic than in the monarchial state which preceded it. As a result, it has been pursued with an enthusiasm and determination unparalleled in the history of the Persian language. Today, almost all important works of Western civilization, from Aristotle and Plato to examples of the latest trends in American or French fiction, are available in Persian translation. (499)&lt;br /&gt;
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At the same time, translation has at times been viewed as an easy road to fame, if not to fortune, particularly in the social sciences and literature. While it has attracted much talent, it has at times had a negative impact on the evolution of the culture. It has certainly thwarted efforts to explore possibilities of political, social or cultural development which do not fit into Western patterns. Be that as it may, the importance of translation as a cultural activity has encouraged almost all notable intellectuals of contemporary Iran to try their hand at it. Rarely have these intellectuals specialized in fields such as literature or the social sciences. Instead, the impulse to translate seems to follow the search for relevance or the perceived need to buttress or justify one’s own position, politically, philosophically or aesthetically. (499)&lt;br /&gt;
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Meanwhile, translation had remained a central component of the language learning process, particularly at university level. However, the activity was pursued in fairly traditional ways which were not always conducive to training competent, professional translators and interpreters. The main activity consisted of actual translations, with little discussion of the theoretical underpinnings or the principles governing the actual process of text production. Typically, students would offer their own translations, discussions would ensue, and a text would be suggested as the best possible rendition of a given original. (500)&lt;br /&gt;
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Through the 1970s, efforts were undertaken at Tehran University, the College of Translation and elsewhere, to introduce a new approach to teaching literary translation from English into Persian and vice versa. Teaching was based essentially on examining existing translations and discussing their relative merits and shortcomings. It also aimed to instil a sense of the comparative grammars of the languages and texts involved. Extensive discussions of the style, diction and context of each text replaced the requirement of text production. Important as it is, translation pedagogy has never been studied in Iran as a crucial component of translation activity. (500)&lt;br /&gt;
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Azarang, refers to the absolute superiority of French as the source language in Persian translation in the early decades of 20th century. As an example, in one Iranian year around 1921-1922, only four literary titles were translated into Persian, among which not a single book was selected from English. He adds by quoting Ramezani’s comment that: ‘The number of selected stories and plays between 1921 and 1932 was a total of 180 titles. At that time, names of books translated from English to Persian were rarely seen. In addition, even those English-language works may have been re-translated from French into Persian, such as the stories of Jack London, an American author whose translations were translated from French into Persian some decades later. Quoting the available evidence, he states that it was only in later years that works by English-language authors such as Shakespeare, Dickens, Alan Poe, O’Henry and others were translated into Persian, while it is not possible to say precisely which of the works has been directly translated from English. (Azarang, “Translation from English”, 60).&lt;br /&gt;
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References:&lt;br /&gt;
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Azarang, Abdolhossein. Tärikhe Tarjome dar Iran [The History of Translation in Iran]. Ghoghnous, 2015.&lt;br /&gt;
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--- “Translation from English to Persian.” Great Islamic Encyclopedia. The Center for the Great Islamic Encyclopedia, vol. XV, 2008, pp. 59-68.&lt;br /&gt;
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Boyce, Mary.  “Parthian writings and literature.” Cambridge history of Iran, edited by E. Yarshater, Cambridge University Press, vol. 3.2, 1983, pp. 1151–1165. &lt;br /&gt;
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Britannica [Online Encyclopedia), https://www.britannica.com/topic/Iranian-languages#ref603427.Accessed 8 Sep 2020.&lt;br /&gt;
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Daeratol’ma’aref-e Bozorg-e Eslami [Great Islamic Encyclopedia]. vol. XV, The Center for the Great Islamic Encyclopedia, 2008.&lt;br /&gt;
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Karoubi, Behrouz. “A concise history of translation in Iran from antiquity to the present time.” Perspectives, vol. 25, no.4, 2017, pp. 594-608. doi:10.1080/0907676X.2016.1277248&lt;br /&gt;
Keramati, Younes. “Translation from Arabic and Persian to Greec”. Great Islamic Encyclopedia. The Center for the Great Islamic Encyclopedia, vol. 15, 2008, pp. 34-36.&lt;br /&gt;
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Karimi-Hakkak, Ahmad. “Persian tradition”, Routledge encyclopedia of translation studies, edited by Mona Baker and Gabriela Saldanha, Routledge, 1998, pp. 493–501.&lt;br /&gt;
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Pakatchi, Ahmad. “Translation from Arabic and Persian to oriental Turkic”. Great Islamic Encyclopedia. The Center for the Great Islamic Encyclopedia, vol. XV, 2008, pp. 45-47. &lt;br /&gt;
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Parsi Nejad, Iraj. “Translation from European languages to Persian”. Great Islamic Encyclopedia. The Center for the Great Islamic Encyclopedia, vol. XV, 2008, pp. 56-59. &lt;br /&gt;
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Rezaee Baghbidi. Hassan. “Translation from Sanskrit and Pahlavi to Arabic”. Great Islamic Encyclopedia. The Center for the Great Islamic Encyclopedia, vol. XV, 2008, pp. 24-33.&lt;br /&gt;
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=Akira Jantarat： History of Chinese-Thai literature Translation in 19th century=&lt;br /&gt;
[[Hist_Trans_EN_17]]&lt;br /&gt;
&lt;br /&gt;
=Jawad Ahmad; History of Translation=&lt;br /&gt;
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[[Hist_Trans_EN_18]]&lt;br /&gt;
&lt;br /&gt;
=Bible Translation in Christian History=&lt;br /&gt;
Benjamin Wellsand, Hunan Normal University, China&lt;br /&gt;
[[Hist_Trans_EN_18]]&lt;br /&gt;
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==Abstract== &lt;br /&gt;
The history of Christianity is rich in translations. Why is this the case? What is the motivation behind all this translation effort? The present work will explain the rationale behind the perceived need for translation. It will describe the multicultural context that aided the church in communicating in a heart language. An awkward struggle in the Middle Ages will leave the future of the church in question. What created this polar shift in the West from the church's original course bearings? How and why did the church recover? What remains of centuries of Christian diligence to get the Word into the words of the other? Through historical events, life experiences of translators, and the tales that live on in the translations themselves will answer these questions and encourage the reader to enter the exciting and vast history of Bible translation.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Aramaic language—refers to the Semitic dialect of a Middle Eastern people written in a Phoenician alphabet and first appearing in the 11th century B.C.E and growing to the peak of prominence in the 8th century B.C.E.&lt;br /&gt;
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Free Translation—a translator’s decision to avoid as many target audience misunderstandings as possible due to linguistic and cultural differences with the source text’s culture&lt;br /&gt;
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Functional or Dynamic Translation—a translator’s decision to focus more attention on communicating the meaning of the source text with concern for the target text&lt;br /&gt;
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Grassroots theology—the lived experience of the church that then develops into a theological framework&lt;br /&gt;
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Greek language—refers to that Greek developed in the 4th century B.C.E. and utilized by the Greco-Roman Empire&lt;br /&gt;
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Heart language—the native language of a person from which the deepest emotional meanings are expressed&lt;br /&gt;
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Hebrew language—refers to the ancient Jewish dialect spoken between the 10th century B.C.E. and the 4th century C.E.&lt;br /&gt;
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Literal Translation—a translator’s decision to focus attention primarily on what the source text says&lt;br /&gt;
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Septuagint—the Greek translations of the Hebrew Old Testament&lt;br /&gt;
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Vernacular language—an expression or mode of expression that is a part of everyday communication and not yet in written form&lt;br /&gt;
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==Introduction==&lt;br /&gt;
Translation of the biblical text has been a practice of the Christian church since its very origin. The founding of the church during the Jewish festival of Pentecost, as recorded in the Bible itself, involved Jesus’ disciples communicating the gospel message in the language of Parthians, Medes, Mesopotamians, and Egyptians, among others. (cf. Acts 2.7-11) The final vision of the multitude of the saved in heaven are described as a “people of God from every tribe and language and people and nation.&amp;quot; (Rev. 5.9) The New Testament, although authored by primarily Hebrew-speaking Jews, was first written in the lingua franca, koine Greek, of the day.  Whereas Buddhists and Muslims identify their sacred texts and faiths inseparably from the original languages of Sanskrit, Pali and Arabic, the Christian faith has sought to translate the biblical texts immediately and directly into the vernacular language of the people to accelerate its global spread.&lt;br /&gt;
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On a historical basis, the Christian faith has been criticized regarding colonialism and the destruction of cultures. One such case occurred in the sixteenth-century with the Japanese. Giant ships (in comparison to the Japanese) came to dock on the island from Portugal. Many transactions were made between the Portuguese traders and the local Japanese damaiyo. When trade agreements went south, as it did in the case of Portugal and Japan, the Portuguese missionaries were associated with the politics and kicked out of the country. They were ousted under the accusations of encouraging Japanese to eat horses and cows, misleading people through science and medicine, and trading Japanese slaves. (Doughill 2012: l. 1064) Although the missionaries had done no such things, they were targeted along with the Portuguese government for these criminal acts.&lt;br /&gt;
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There are cases where the colonial form of the church has not come to intentionally destroy but has assumed cultural superiority and inadvertently added to the host culture their own country of origin’s cultural forms. Late 19th century missionaries to Africa felt that the Western-style structure of a dwelling was an indicator of modern progress.  In 1879, the magistrate of Gatberg declared:&lt;br /&gt;
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It is not only that the requirement of modesty necessitates the providing of some sort of clothing, however simple; but Christian morality desires also a dwelling corresponding to human dignity, decency, and purity. Building plays an important part in the mission. First the missionary builds a simple small house for himself, to which he soon adds a school and a church. Generally, he must himself superintend this work; often enough, indeed, he must execute it with his own hand, and it stands him in good stead to have been a tradesman at home. But he induces the natives also to help him, and much patience as it requires on his part, he undertakes to instruct them. Gradually his word and his example produce their effect, and the converts from heathenism begin to build new and more decent dwellings for themselves. (Warneck 1888: 80)&lt;br /&gt;
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There is no denying that the church has struggled to decontextualize the faith from their home culture and properly contextualize it into the host culture. This has led to the host culture’s Christianity looking eerily similar to the missionary’s, at best, or a faith that forever remains foreign to the host culture, at worst. Yet, as Lamin Sanneh notes, Christian missionaries have often played a key role in the preservation of cultures:&lt;br /&gt;
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The translation enterprise had two major steps. One was the creation of a vernacular alphabet for societies that lacked a literary tradition. The other step was to shake the existing literary tradition free of its esoteric, elitist predilection by recasting it as a popular medium. Both steps stimulated an indigenous response and encouraged the discovery of local resources for the appropriation of Christianity. (Sanneh 1987: 333)&lt;br /&gt;
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The translation of the biblical text into another language is not simply a greater convenience to the reader in the target culture but accomplishes far more as language extends much deeper than a mere form of communication. &lt;br /&gt;
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Benjamin L. Whorf’s theory of linguistic relativity holds that language influences thought and not thought that influences language. For him, “linguistics is essentially the quest of meaning.&amp;quot; (Carroll 1956: 73) George C. Lichtenberg, another pioneer of linguistics, is famously quoted as saying, “Our false philosophy is incorporated in our whole language; we cannot talk, so to say, without talking incorrectly. We do not consider that speaking, irrespective of its content, presents a philosophy.&amp;quot; (Loewenberg 1943-44: 102) Richard D. Lewis illustrated this point with an interaction between himself, an Englishman, and a former Zulu chief who received a doctorate in philology at Oxford as they discussed the color green. As the Zulu pointed to a leaf in the sun, a leaf in the shade, a wet leaf in the sun and one in the shade, bush leaves, leaves in the wind, rivers, pools, tree trunks, and crocodiles, all to which Lewis responded with a single answer: green. Yet his Zulu friend had reached thirty-nine different terms for green with no trouble at all (Lewis 2006, 9). Paul G. Hiebert writes, “We examine the language to discover the categories the people use in their thinking.&amp;quot; (Hiebert 2008: 90)&lt;br /&gt;
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Christians, like Hiebert, recognize that true conversion of a person’s mind can only happen if it takes place on three levels of the individual: belief, behavior, and worldview. “Too often conversion takes place at the surface levels of behavior and beliefs; but if worldviews are not transformed, the gospel is interpreted in terms of pagan worldviews, and the result is Christo-paganism.&amp;quot; (Hiebert 2008: 69) And, since worldview is linked to language, it goes without saying that the biblical text and Christian terminology must be placed in the language of the people in order for one to be truly Christian within their culture. &lt;br /&gt;
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Grassroots theology is a term coined by Simon Chan. While it is true that theology is something that is viewed as coming down from God in the Christian faith, theology cannot be totally divorced from what happens on the physical earth among humanity. The idea behind grassroots theology is that theology takes place within the community of the faithful and will necessarily carry cultural characteristics of the host culture. The African context finds a great deal of suffering through poverty and illness and filial concerns extend to deceased ancestors. This has led African Christians to recognize Jesus as the Healer who can bring help for those suffering from disease. They will point to Messianic prophecies like, “the eyes of the blind shall be opened, and the ears of the deaf unstopped; then shall the lame man leap like a deer, and the tongue of the mute sing for joy.&amp;quot; (Isa. 35.5-6) They also find him to be the fulfillment for their need of an ancestral role as a mediator between the earthly and spiritual realms. They draw attention to Paul’s letter to Timothy, “For there is one God, and there is one mediator between God and men, the man Christ Jesus.&amp;quot; (1 Tim. 2.5) The same can be said of Latin Americans attraction to the Holy Spirit and those giftings associated with him and South Asia’s attention to fear-power aspects of the gospel message coming from a culture steeped in animism and folk religions.&lt;br /&gt;
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Randy Dignan has learned from his own bilingual experience “that language isn’t understood only by the mind. Language can also be heard with the heart.&amp;quot; (Dignan 2020: 13) The term heart language holds to the conviction that, while one can read and communicate in a second language, when in the most intimate and troubling circumstances an individual will automatically revert to his or her native tongue. This is since our native form of speech is not only natural but the language in which we communicate most deeply and freely. When the Japanese Christian, Shusaku Endo, reflected on the 250 years of suffering that the church in Japan had to endure and how the church was forced to recant their faith publicly and remove all religious symbols, he reverted to his native language to express his spiritual thoughts. The Japanese character chin (meaning silence) stood as a symbol as one “looks starkly into the darkness, but [creates] characters and language that somehow inexplicably move beyond” that darkness.&amp;quot; (Fujimura 2016: 74) What in Shusaku Endo’s mind best describes the Japanese Christian’s experience of suffering? Chin. When speaking of things closest to us, humans, all of us, speak from the language closest to our heart—our native one.&lt;br /&gt;
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The early church set the pattern as it was birthed within a multilingual context and immediately entered translation efforts. Colonialism remains a constant threat as one culture takes the Christian faith into another foreign cultural context. Conversion is defined by the church as an experience that involves an individual who possesses a former way of life modeled after a specific pattern of behavior and a particular spiritual influence and then that way of life is abruptly interrupted and overturned by an encounter with Jesus. (cf. Eph. 2.1-7) That experience involves a love for God with all of one’s heart, soul, mind, and strength. (cf. Mk. 12.30) What reaches to the depths of heart and soul is one’s language that reaches to worldview levels. Christianity is a faith that is intended to engulf the entire person from head to toe and from belief to action. The development of a grassroots theology involves the heart language of the people and has historically manifested the capacity to preserve cultures. This is a work on the history of translation in the church.&lt;br /&gt;
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[1] Papias’ writings are only available to us through the records kept by Eusebius. In these records, there are two extant quotes regarding authorship of the gospels. In regard to the gospel of Matthew, he writes, “Matthew composed the gospel in the Hebrew dialect and each translated them as best he could.” The early church understood this to mean that Matthew had originally written his gospel in Hebrew and it was soon after translated into Greek. However, scholars, such as D. A. Carson and Douglas J. Moo, have brought the validity of this interpretation of Papias’ statement into question. (See 2005: 161-162)&lt;br /&gt;
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==1. The Early Church And Translation==&lt;br /&gt;
The early church was a multicultural and multilingual group of people. The church had its start within Jerusalem during a Jewish festival known as Pentecost. It was during this festival that Jews would converge within the city from the Jewish diaspora that had been created through centuries of occupation and exile. The Jews living among foreign lands had taken on the culture and languages of their captors and captive neighbors. When they came back to worship at the centralized Jerusalem Temple in 30 C.E., there was a complex and diverse representation of culture and a need for the Hebrew speakers to communicate in the languages of the diaspora. &lt;br /&gt;
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As noted above, Greek had long been the lingua franca by this time and translation of the church’s sacred text had already taken place. What is known as the Septuagint (LXX) was the Greek version(s) of the Hebrew Old Testament. Rather than referencing a specific translation, since there is no single identifiable text, the LXX is, in the words of Emanuel Tov, “the nature of the individual translation units” and “the nature of the Greek Scripture as a whole (p3).” The fictitious origins of the title Septuagint come from the tale of 70 translators who were said to have gathered in Alexandria during the reign of Ptolemy II and the translation was miraculously accomplished within seventy-two days. Despite the fictitious tale of its beginning and the difficulty in identifying exactly what the Septuagint text contains, there is no doubt that the translations existed, and that Jesus’s apostles utilized them regularly in their writing of the New Testament text.  &lt;br /&gt;
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The New Testament does not qualify as a written translation of a Hebrew text, but it is a written Greek text that is translated from Jewish thought. The Jewish concepts of Temple, Levitical priesthood, Messiah, animal sacrifice, along with many other Old Testament imagery and thought are written down in Greek. It is interesting that there are assumptions made by biblical scholars that, since the biblical writers were writing in Greek, they must have been borrowing from Greek thought to communicate to a Greek audience.  A common example can be found in the beginning of the gospel of John and its use of word (or logos). The text reads, “In the beginning was the Word and the Word was with God, and the Word was God.&amp;quot; (Jn. 1.1) Many find the apostle John borrowing from Platonic philosophy and following in the footsteps of Hellenistic, Jewish philosopher, Philo who connected Greek Sophia (or Wisdom) with the logos, which was the knowledge, reason, and consciousness of the God of the Old Testament that assisted humans in life. &lt;br /&gt;
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Despite the face value validity of this being a moment of contextualization by the apostle John of Hebrew concepts into Greek thought, there may be a more reasonable explanation. Ronald A. Nash points out that it makes more sense to take logos not back to Greek philosophy primarily but to Hebrew thought in Genesis 1, since the writers had Jewish minds. In every activity of creation, as it is recorded in the Hebrew Old Testament, God is described as one who speaks all things into existence. “And God said, ‘Let there be light.'&amp;quot; (Gen. 1.3) It is the word of God that brought all of creation into existence. John takes the Hebrew thought regarding the spoken beginning of the cosmos and uses the Greek term logos as a title for Jesus to connect him with the origins of creation for the New Testament Greek audience.&lt;br /&gt;
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Regardless of how thoughts were communicated in translation, the fact remains that the early church was diligent from the start to ensure the biblical text made it into the hands of every people group encountered in their own language. The earliest translation of the Greek New Testament was either Syriac or Coptic. The Coptic version was translated by Egyptians of the north-western province in the third century. Today, there are five or six different identifiable Syriac versions that arise out of more than 350 extant manuscripts and the Peshitta is the earliest known translation following the LXX. By 200 C.E. there was an estimated seven translations, thirteen by the sixth century, and fifty-seven by the nineteenth century. In 2020, the Bible has been translated in whole into 704 languages, New Testament-only translations in 1,551 languages, and partial translations in another 1,160.&lt;br /&gt;
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[2] See D. Butler Pratt. 1907. “The Gospel of John from the Standpoint of Greek Tragedy.” The Biblical World. 30 (6): 448-459. The University of Chicago Press. and Ronald Williamson. 1970. Philo and the Epistle to the Hebrews. Leiden: E. J. Brill.&lt;br /&gt;
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==2. Motivation and Opposition to Translation in the Middle Ages==&lt;br /&gt;
Emperor Diocletian had divided the Roman Empire into two sectors: the predominantly Latin-speaking western and the majority Greek-speaking eastern territories. Later in history with the weakening of the Roman Empire and a diversity of Germanic tribes occupying the west, the Eastern empire of Byzantium (led by a conviction as the rightful heirs of the Roman Empire) desired to reunite the former glory of Rome and, under the rule of Emperor Justinian I, successfully expanded its imperial authority from east to most of the former Roman western territory. There developed between Rome in the west and Constantinople in the east a politically driven religious rivalry after an alliance of the Frankish king, Pepin the Younger and the bishop of Rome. The political divide between the Franks and the Byzantines persisted to the point of the creation of two different leaders of the church, the Roman pope in the west and the Constantinian patriarch in the east. The Great Schism began in 1054 C.E. when the Byzantine patriarch Michael I Celarius sent a letter to the Roman bishop of Trani to debate the use of unleavened rather than leavened bread in the context of corporate worship with the claim of unleavened bread as a Jewish and not a Christian practice. The conflict was referred to the western capital city of Rome where pope Leo refused to make any concessions regarding the issue. &lt;br /&gt;
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In 1079 C.E. a letter was written by Vratislaus I, duke of Bohemia, requesting the pope of Rome allow his monks to do officiate in Slavonic recitations. Pope Gregory VII responded:&lt;br /&gt;
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Know that we can by no means favorably answer this your petition. For it is clear to those who reflect often upon it, that not without reason has it pleased Almighty God that holy scripture should be a secret in certain places, lest, if it were plainly apparent to all men, perchance it would be little esteemed and be subject to disrespect; or it might be falsely understood by those of mediocre learning, and lead to error … we forbid what you have so imprudently demanded of the authority of St. Peter, and we command you to resist this vain rashness with all your might, to the honor of Almighty God. (Deansely 1920: 24)&lt;br /&gt;
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One wonders if the recent signs of a schism and concern over who held church authority, either the patriarch or the pope, did not significantly influence such a verdict. In this case, it was likely not so much a concern over the misuse of the biblical text as it was a deterrent of Greek and Slavic influence from the eastern church having a hold on western adherents to the Christian faith. &lt;br /&gt;
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Vernacular translations did exist for royalty in nearly all European countries, such as those produced for John II of France or Charles V of Rome. Vernacular translations that were free adaptations, paraphrases, or rhymed verse were allowed among the laity for single books or portions of the Bible because such “a work was considered safer than the literal translation of the sacred text.” (Deansely 1920, 19) The fact that the Waldensians were early proponents of vernacular translation and viewed as a heretical group in the Roman church did not help the cause. This ascetic sect held that vows of apostolic poverty led to spiritual perfection. A native German and founder of the Waldensians, Peter Waldo, was a man with the will and financial means to have the New Testament translated into Franco-Provençal by a cleric from Lyon. The sect was not as keen on the Old Testament and so there was no completed translation work. The Lollards, or followers of Wycliffe, were viewed with theological suspicion by the church in Rome as well. John Wycliffe, an English philosopher and University of Oxford professor, believed that God was sovereign over all and that all men were on an equal footing under his reign and were not in submission to any other mediatory ecclesiastical power. Margaret Deansely claims that this “also led logically to the demand for a translated Bible” from the Latin vulgate to English. (Deansley 1920: 227) If everyone was under God and the divine mandate, then it is only fitting that each person be given that text in an understandable linguistic form. Wycliffe used the existence of translations among the nobility as a basis for a request for translations available to commoners. &lt;br /&gt;
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In 1412, the English archbishop Thomas Arundel wrote to pope John XXII charging that Wycliffe had “fill[ed] up the measure of his malice, he devised the expedient of a new translation of the scriptures into the mother tongue.” (Deansely 1920: 238) His Constitutions that were authored against Wycliffe post-humously and against the existing Lollard community, according to Shannon McSheffrey, “were probably responsible for a freeze on English translations of scripture” with only one surviving license for an English Bible in the fifteenth century, the Lollard translation remained the “most widely circulated of vernacular manuscripts.” (McSheffrey 2005: 63) Margaret Aston found that, despite the church in Rome’s crackdown on vernacular translation, the Lollards cause continued to influence the Reformers through their written publications. Martin Luther utilized the Commentarius in Apocalypsin ante Centum Annos æditus, Robert Redman produced a work heavily dependent on The Lanterne of light, and William Thynne’s The Plowman’s Tale has its source in an original fourteenth-century Lollard poem. The fires for vernacular translation had been rekindled in the church of the west. Jacob van Liesveldt published a Dutch translation in 1526; Jacques Lefèvre d’Étaples completed the French Antwerp Bible in 1530; Luther’s German translation emerged in 1534; Maximus of Gallipoli printed a Greek translation of the New Testament in 1638; a completed Hungarian Bible immerged in 1590; Giovanni Diodati translated the Bible into Italian in 1607; João Ferreira d'Almeida printed a Portuguese New Testament in 1681; in 1550 a full translation arrived in Denmark; and Luther’s version of the New Testament was reprinted in part in the Swyzerdeutsch dialect by 1525. In 1953, Wycliffe Bible Translators was founded and currently has a global alliance of over 100 organizations that serve in Bible translation movements and language communities around the world and has been a part of vernacular translation in more than 700 languages.&lt;br /&gt;
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==3. Defining Forms of Biblical Translation==&lt;br /&gt;
In translation of the biblical text, the best possible translation scenario is one that comes from the original Hebrew-Aramaic Old Testament (including the later LXX translations) and Greek New Testament languages.  There are Bible versions that are translated based on previous translations, but this is not ideal as it removes the translators from the linguistic source context. Ancient Greek has single words with multiple meanings, like bar in English that can refer to an establishment that serves alcohol and a metal object or hua in Chinese that can be read either as a verb or a noun. This can lead to inconsistencies in translation. For example, the Chinese Union Version (CUV), which is the most used Chinese version, translates the Greek word aletheia as chengshi (or honesty). John uses aletheia nineteen times in the Gospel of John and only once in John 16.7 does the word carry the meaning of honesty. It is clear in this passage that the meaning is honesty as it is a description of how Jesus speaks with his disciples. A single word in one language can also carry more information than in another. The Greek word hamartánein (or sin) in 1 John 1.9 is a present active verb for sin. The JMSJ Chinese version adds jixu (or continue) which is a word not found in Greek, but best expresses the original meaning with the addition of a word not found in the source text. &lt;br /&gt;
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When translation issues arise like the latter example given above, there are translator decisions that must be made on how to best translate a source text’s meaning into the target text. There are translators who make the decision to stay as close to the source language as possible. This is known as a literal translation of the source text. Leland Ryken states that a literal translation approach is concerned more with “what the original text says [than] what it means.” (Ryken 2009, l. 323) This may lead to a translator sacrificing ease of the recipient audience’s understanding for the sake of an aim to stay faithful to the text. However, there are cases where literal translation has worked best. Toshikazu Foley notes how the Chinese Union Version takes a literal approach in Philippians 1.8 when it translates the Greek word splagknois (or the most inward parts of a man where emotions are felt) as xinchang (or heart-intestines). This phrase carries the meaning of someone with a “good heart” or “merciful and kind.” While Today’s Chinese Version (TCV) takes a more dynamic approach and follows Today’s English Version’s (TEV) translation as heart. In this instance, what the Greek text says and what it means can transfer to the Chinese text.&lt;br /&gt;
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Continuing with the Philippians 1.8 scenario, the Greek word splagknois (or the most inward parts of a man where emotions are felt) cannot be directly translated into English in the same way that it can with the Chinese term xinchang (or heart-intestines). For an English translator to take a literal translation approach and simply make a direct translation as “I long after you all in the bowels of Jesus Christ,” it would lead to a great misunderstanding by the English audience. The TEV translator has made the decision to surrender a literal translation out of concern for the target audience. This is known as a dynamic or functional equivalence translation. Ryken gives the following description: “Functional equivalence seeks something in the receptor language that produces the same effect (and therefore allegedly serves the same function) as the original statement, no matter how far removed the new statement might be from the original.” (Ryken 2009: l. 263) &lt;br /&gt;
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There are varying degrees of helpfulness when a translator is forced to move into the realm of dynamic equivalence. A comparison of two translation results from 2 Timothy 2.3 can be used to illustrate. The Chinese Union Version reads, “You want to suffer with me, like a good soldier of Christ Jesus.” While the Today’s Chinese Version reads, “As a loyal soldier of Christ Jesus, you have to share in the suffering.” In the surrounding context, Paul has just explained his own suffering in chapter one and speaks intimately of Timothy as his son in chapter two and expects Timothy to propagate his message further. The CUV follows the context more closely as Timothy follows in the ministry of his spiritual “father” before him and, as he shares Paul’s message, will also share in his sufferings. &lt;br /&gt;
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Those translators that are very target text oriented in avoidance of difficult language and cultural differences, can leave the realm of translation and enter that of interpretation. To pursue Ryken’s description further, the free translation approach is primarily concerned with what the text means in its communication. The Concise Bible (JMSJ) takes great liberty in its translation of 1 Corinthians 1.23. Where the Chinese New Version translates, “We preach the crucified Christ; a stumbling block to the Jews and stupidity to the foreigner”, the JMSJ reads:&lt;br /&gt;
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“But all we proclaim is the Christ who was nailed to the cross to atone for people's sin. Jews hate this kind of message [, because their hope is in a political, military leader leading them to break free from Roman rule, and not the crucified Jesus]. People of other races think this kind of message is very foolish [, because they don't believe Jesus becoming sin and dying on a cross for people is Savior and Lord.]”&lt;br /&gt;
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A non-native speaker could examine the Chinese New Version and JMSJ and recognize just by the stark contrast in Chinese character counts between the two versions that the JMSJ has gone to great lengths to communicate the meaning of the source text to its Chinese target audience.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The Christian church was birthed in a multilingual environment that was the result of seemingly endless years of exile which the superior kingdoms of Babylon, Assyria, Medo-Persia, Greece, and Rome forced upon the Jewish population. The Christians believe, in the pen of the apostle Paul, “we know that for those who love God all things work together for good, for those who are called according to his purpose.” (Rom. 8.28) The kingdoms aggressively destroyed and pillaged and uprooted families, friends, and neighbors from their promised land and decimated the Temple. The Jews were left without a king, a name, and, from all outward appearances, a God. Yet this landless state of a people, that commonly struggled with ethnocentrism, propelled them into a crash course with foreign language studies. Genesis 31.47; Jeremiah 10.11; Ezra 4.8-6.18; 7.12-26; and Daniel 2.4-7.28 are all portions of the Old Testament that were not written in Hebrew, but in Aramaic. Aramaic was the official language used circa 700-200 B.C.E. and remnants of its widespread usage were found in parts of Babylon, Egypt, Palestine, Arabia, Assyria, and other ancient regions. The LXX translations quoted in the New Testament also attest to the Greco-Roman occupation and the Jews ability to adapt to their surrounding cultures. When the Holy Spirit descends with tongues of fire, the followers of Jesus tongues are alight with the diversity mirroring the surrounding effects of a melting pot of cultural diversity. The first Christians (primarily Jewish) were already equipped to communicate the gospel message of Jesus on a worldview level in the heart language of their former oppressors.&lt;br /&gt;
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The cultures that interacted, and at points even dominated the Palestinian culture, were the first ones to experience the early church’s fervent cross-cultural evangelistic efforts through the means of translation. Peter J. Williams gives this historical comment: “The oldest records in Syriac are pagan or secular, but from the mid-second century onward, the influence of Christianity could be felt in Syriac-speaking culture, and from the fourth century, this influence dominated literary output.” (Williams 2013: 143) The most notable of these early Christian texts is Tatian’s Diatessaron (the earliest known harmony of the four Gospels of Matthew, Mark, Luke and John) around 170 C.E. Philip Jenkins lists Syria among the Near Eastern places of origin where, “during the first few centuries [Christianity] had its greatest centers, its most prestigious churches and monasteries.” (Jenkins 2008: l. 47) It was the theological struggles of this church that led to the early articulation of key doctrines, like the hypostatic union of Christ that sets forth the relationship between his divine and human natures. &lt;br /&gt;
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The utilization of koine Greek pressed the church outward with a global missional front. One that, as previously noted, preserves the languages of outlying and isolated cultures and plants the Christian faith firmly in the local cultural context to ensure its perseverance. Before the writings of the New Testament are even completed, the church is already seen in transition from a primarily Jewish body to a predominantly Greek one. The apostle Paul queried the apostle Peter, both of Jewish descent, “If you, though a Jew, live like a Gentile and not like a Jew, how can you force the Gentiles to live like Jews?” (Gal. 2.14) And the church in its infancy is described in the midst of a racial dilemma: “Now in these days when the disciples were increasing in number, a complaint by the Hellenists arose against the Hebrews because their widows were being neglected in the daily distribution.” (Acts 6.1) These were not signs of stagnation but were natural growing pains of a church that was oriented outward. Although the church seems to struggle or lose its focus from time to time, overall, it has been at the forefront of linguistic translation and has made the Bible the most popular and well-read text in all the world for centuries.&lt;br /&gt;
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==References==&lt;br /&gt;
Aston, Margaret. 1964. “Lollardy and the Reformation: Survival or Revival.” in History. 49 (166): 149-170. Hoboken: Wiley.&lt;br /&gt;
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Carroll, John B., ed. 1956. ''Language, Thought, and Reality: Selected Writings of Benjamin Lee Whorf''. Cambridge: MIT Press.&lt;br /&gt;
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Carson, D. A. &amp;amp; Douglas J. Moo. 2005. ''An Introduction to the New Testament''. Grand Rapids: Zondervan.&lt;br /&gt;
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Chan, Simon. 2014. ''Grassroots Asian Theology: Thinking the Faith from the Ground Up''. Downers Grove: InterVarsity Press.&lt;br /&gt;
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CUV Bible (Heheben). 2006. Hong Kong: Hong Kong Bible Society.&lt;br /&gt;
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Deansely, Margaret. 1920. ''The Lollard Bible and Other Medieval Biblical Versions''. Cambridge: University Press.&lt;br /&gt;
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Dignan, Randy. 2020. ''Heart Language: Let’s Communicate Like Jesus and Change the World!'' Daphne: River Birch Press.&lt;br /&gt;
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Doughill, John. 2012. ''In Search of Japan’s Hidden Christians: A Story of Suppression, Secrecy, and Survival''. Rutland: Tuttle Publishing.&lt;br /&gt;
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ESV Study Bible. 2008. Wheaton: Crossway Books.&lt;br /&gt;
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Foley, Toshikazu. 2009. ''Biblical Translation in Chinese and Greek: Verbal Aspect in Theory and Practice''. Leiden: Brill. &lt;br /&gt;
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Fujimura, Makoto. 2016. ''Silence and Beauty: Hidden Faith Born of Suffering''. Downers Grove: InterVarsity Press.&lt;br /&gt;
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Hiebert, Paul G. 2008. ''Transforming Worldviews: An Anthropological Understanding of How People Change''. Grand Rapids: Baker Academic.&lt;br /&gt;
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Jenkins, Philip. 2008. ''The Lost History of Christianity: The Thousand-Year Golden Age of the Church in the Middle East, Africa, and Asia—and How It Died''. New York: HarperCollins.&lt;br /&gt;
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JMSJ Bible (Jianmingshengjing). 2012. Taipei: Taipei Daoshen Publishing House.&lt;br /&gt;
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Lewis, Richard D. 2010. ''When Cultures Collide: Leading Across Cultures''. 3rd ed. Boston: Hachette Book Group.&lt;br /&gt;
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Loewenberg, Richard D. “An Eighteenth Century Pioness of Semantics.” ETC: A Review of General Semantics. 1 (2): 99-104. Institute of General Semantics.&lt;br /&gt;
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McSheffrey, Shannon. 2005. “Heresy, Orthodoxy and English Vernacular Religion 1480-1525.” Past &amp;amp; Present. 186 (1): 47-80. Oxford University Press.&lt;br /&gt;
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Nash, Ronald A. 2003. ''The Gospel and the Greeks: Did the New Testament Borrow from Pagan Thought?'' Phillipsburg: P &amp;amp; R Publishing.&lt;br /&gt;
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Ryken, Leland. 2009. ''Understanding English Bible Translation: The Case for an Essentially Literal Approach''. Wheaton: Crossway.&lt;br /&gt;
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Sanneh, Lamin. 1987. “Christian Missions and the Western Guilt Complex.” The Christian Century. 104 (11): 331-334. The Christian Century Foundation. &lt;br /&gt;
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TCV Bible (Xiandaizhongwenyiben). 1979. Hong Kong: Hong Kong Bible Society.&lt;br /&gt;
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TEV Bible. 1976. New York: American Bible Society.&lt;br /&gt;
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Tov, Emanuel. 2010. “Reflections on the Septuagint with Special Attention Paid to the Post-Pentateuchal Translations,” in ''Die Septuaginta – Texte, Theologien, Einflusse'', ed. Wolfgang Kraus and Martin Karrer, 3–22. Tubingen: Mohr Siebeck.&lt;br /&gt;
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Warneck, Gustav. 1888. ''Modern Missions and Culture: Their Mutual Relations''. Edinburgh: James Gemmell.&lt;br /&gt;
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Williams, Peter J. 2013. “The Syriac Versions of the New Testament,” in ''The Text of the New Testament in Contemporary Research'', eds. Bart D. Ehrman and Michael W. Holmes, 143-166. Leiden: Brill.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<title>Trans Type EN 7</title>
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		<updated>2021-12-14T04:45:46Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Reference */&lt;/p&gt;
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&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
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秦建安 QinJianan, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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'''Correction'''The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but also as close as possible to the original text in terms of syntactic structure and wording. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:09, 14 December 2021 (UTC)&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
Yang Xianyi and his wife Gladys Yang are great translators beyond all doubt. &lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
As one of Nida’s major contributions  to contemporary translation studies.&lt;br /&gt;
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The translation of Lu Xun's novels during the period of Yang and Dai reaches its heyday. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:24, 14 December 2021 (UTC)&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of messages.&lt;br /&gt;
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The first stage is  starting from the essence of language;&lt;br /&gt;
At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensure smoothness of the translation as much as possible. &lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quantity.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:33, 14 December 2021 (UTC)&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s response.&lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which were pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information needs to be filled in by the reader himself. &lt;br /&gt;
The fourth part is the identity theme. In other words,--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:39, 14 December 2021 (UTC)&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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'''Correction''' &lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aimed to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:41, 14 December 2021 (UTC)&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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'''Correction''' &lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who were bullied and oppressed and lost their dignity as human beings.&lt;br /&gt;
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The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spirituality and ideology by the feudal education system in the dark old society. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:45, 14 December 2021 (UTC)&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
&lt;br /&gt;
In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
&lt;br /&gt;
Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
&lt;br /&gt;
At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
&lt;br /&gt;
In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
&lt;br /&gt;
This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
[1]Nida E.A.（2001） ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
&lt;br /&gt;
[2]Nida E.A.（1964） Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
&lt;br /&gt;
[3]Nida E.A.&amp;amp;Charles R.Taber（1969） ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
&lt;br /&gt;
[4]Lu Xun鲁迅（1981）.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京:人民文学出版社Beijing:People's Literature Publishing House ,1982.&lt;br /&gt;
&lt;br /&gt;
[5]Tan Zaixi谭载喜（1999）．新编奈达论翻译New Nida's Translation[M]．北京：中国对外翻译出版公司Beijing:China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
&lt;br /&gt;
[6]Yang Jianding杨坚定，Sun Hongren孙鸿仁（1936）．鲁迅小说英译版本综述 A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
&lt;br /&gt;
[7]伊塞尔Iser（1998）.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press.&lt;br /&gt;
&lt;br /&gt;
[8]Yang Xianyi杨宪益, Dai Naidie戴乃迭（1957）译.鲁迅选集英文版(一) Selected Works of Lu Xun (一)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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-Written by Qin Jianan--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 04:45, 14 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<summary type="html">&lt;p&gt;Qing Jianan: /* Reference */&lt;/p&gt;
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&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianan, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Correction'''The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but also as close as possible to the original text in terms of syntactic structure and wording. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:09, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
&lt;br /&gt;
===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
Yang Xianyi and his wife Gladys Yang are great translators beyond all doubt. &lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
As one of Nida’s major contributions  to contemporary translation studies.&lt;br /&gt;
&lt;br /&gt;
The translation of Lu Xun's novels during the period of Yang and Dai reaches its heyday. --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:24, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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'''Correction'''&lt;br /&gt;
 &lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of messages.&lt;br /&gt;
&lt;br /&gt;
The first stage is  starting from the essence of language;&lt;br /&gt;
At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensure smoothness of the translation as much as possible. &lt;br /&gt;
&lt;br /&gt;
Nida also recognized that there would never be complete equivalence and it was just a quantity.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:33, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Correction'''&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s response.&lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which were pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information needs to be filled in by the reader himself. &lt;br /&gt;
The fourth part is the identity theme. In other words,--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:39, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
&lt;br /&gt;
6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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&lt;br /&gt;
'''Correction''' &lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aimed to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 04:41, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
&lt;br /&gt;
Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
&lt;br /&gt;
Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
&lt;br /&gt;
In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
&lt;br /&gt;
Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
&lt;br /&gt;
==== Syntax Analysis ====&lt;br /&gt;
&lt;br /&gt;
In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
&lt;br /&gt;
When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A.（2001） ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
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[2]Nida E.A.（1964） Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida E.A.&amp;amp;Charles R.Taber（1969） ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]Lu Xun鲁迅（1981）.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京:人民文学出版社Beijing:People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]Tan Zaixi谭载喜（1999）．新编奈达论翻译New Nida's Translation[M]．北京：中国对外翻译出版公司Beijing:China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]Yang Jianding杨坚定，Sun Hongren孙鸿仁（1936）．鲁迅小说英译版本综述 A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser（1998）.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press.&lt;br /&gt;
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[8]Yang Xianyi杨宪益, Dai Naidie戴乃迭（1957）译.鲁迅选集英文版(一) Selected Works of Lu Xun (一)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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-Written by Qin Jianan--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 04:45, 14 December 2021 (UTC)-&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132148</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132148"/>
		<updated>2021-12-13T14:07:54Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Non-formal Markers */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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&lt;br /&gt;
==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:58, 13 December 2021 (UTC)&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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'''Correction:'''The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, choose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 14:07, 13 December 2021 (UTC)&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' into a prose poem, so his sentence construction is more compactive; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 14:07, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
&lt;br /&gt;
[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
&lt;br /&gt;
[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132146</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132146"/>
		<updated>2021-12-13T14:07:06Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:58, 13 December 2021 (UTC)&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, choose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' into a prose poem, so his sentence construction is more compactive; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 14:07, 13 December 2021 (UTC)&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132145</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132145"/>
		<updated>2021-12-13T14:06:45Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:58, 13 December 2021 (UTC)&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, choose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' into a prose poem, so his sentence construction is more compactive; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
&lt;br /&gt;
[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
&lt;br /&gt;
[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132136</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132136"/>
		<updated>2021-12-13T14:04:02Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Non-formal Markers */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:58, 13 December 2021 (UTC)&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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'''Correction:'''The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, choose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132122</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132122"/>
		<updated>2021-12-13T13:58:20Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Lexical Markers */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:58, 13 December 2021 (UTC)&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132121</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132121"/>
		<updated>2021-12-13T13:57:44Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Register Markers */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
&lt;br /&gt;
[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132118</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132118"/>
		<updated>2021-12-13T13:57:16Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Form Markers */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
===Lexical Markers===&lt;br /&gt;
&lt;br /&gt;
Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (b)'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
&lt;br /&gt;
==Non-formal Markers==&lt;br /&gt;
&lt;br /&gt;
The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132116</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132116"/>
		<updated>2021-12-13T13:56:49Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Liu Miqing’s theory of translation style */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132114</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132114"/>
		<updated>2021-12-13T13:56:26Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Introduction */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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'''Correction:'''The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narratives, and some descriptives, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyze and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 13:56, 13 December 2021 (UTC)&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
===Lexical Markers===&lt;br /&gt;
&lt;br /&gt;
Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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&lt;br /&gt;
The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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&lt;br /&gt;
In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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&lt;br /&gt;
Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
&lt;br /&gt;
[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
&lt;br /&gt;
[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132102</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132102"/>
		<updated>2021-12-13T13:52:28Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Lexical Markers */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
===Lexical Markers===&lt;br /&gt;
&lt;br /&gt;
Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (b)'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analyzing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Eg. (b)'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
&lt;br /&gt;
As a result, we can recognize the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
&lt;br /&gt;
==Non-formal Markers==&lt;br /&gt;
&lt;br /&gt;
The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132070</id>
		<title>Trans Type EN 6</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_6&amp;diff=132070"/>
		<updated>2021-12-13T13:43:05Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Register Markers */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgment on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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'''Correction:'''“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose, the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the latter means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in the text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “come”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
&lt;br /&gt;
Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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&lt;br /&gt;
The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
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		<title>Trans Type EN 6</title>
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		<updated>2021-12-13T13:37:09Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Form Markers */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
&lt;br /&gt;
彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
	&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
==Form Markers==&lt;br /&gt;
&lt;br /&gt;
According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
'''Correction:'''According to the form and content of the chapters, two proses or prose poems are seletced from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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	&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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&lt;br /&gt;
The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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&lt;br /&gt;
In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
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		<title>Trans Type EN 6</title>
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		<updated>2021-12-13T13:35:29Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Liu Miqing’s theory of translation style */&lt;/p&gt;
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&lt;div&gt;==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
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翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations.Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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'''Correction:'''Literary style often gives the impression of being elusive and difficult to grasp.But in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. To comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论 New Contemporary Translation Theory [M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
&lt;br /&gt;
[4] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
&lt;br /&gt;
[5] 波德莱尔 Baudelaire. 巴黎的忧郁 The Melancholy of Paris [M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<summary type="html">&lt;p&gt;Qing Jianan: /* Reference */&lt;/p&gt;
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&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianan, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
&lt;br /&gt;
===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
&lt;br /&gt;
The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
&lt;br /&gt;
On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
&lt;br /&gt;
Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
&lt;br /&gt;
==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
&lt;br /&gt;
===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
&lt;br /&gt;
4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
&lt;br /&gt;
5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
&lt;br /&gt;
6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
&lt;br /&gt;
=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
&lt;br /&gt;
Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
&lt;br /&gt;
Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
&lt;br /&gt;
From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
&lt;br /&gt;
==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
&lt;br /&gt;
So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
&lt;br /&gt;
This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
&lt;br /&gt;
In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
&lt;br /&gt;
Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A.（2001） ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press. &lt;br /&gt;
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[2]Nida E.A.（1964） Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida E.A.&amp;amp;Charles R.Taber（1969） ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]Lu Xun鲁迅（1981）.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京:人民文学出版社Beijing:People's Literature Publishing House ,1982.&lt;br /&gt;
&lt;br /&gt;
[5]Tan Zaixi谭载喜（1999）．新编奈达论翻译New Nida's Translation[M]．北京：中国对外翻译出版公司Beijing:China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
&lt;br /&gt;
[6]Yang Jianding杨坚定，Sun Hongren孙鸿仁（1936）．鲁迅小说英译版本综述 A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
&lt;br /&gt;
[7]伊塞尔Iser（1998）.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press.&lt;br /&gt;
&lt;br /&gt;
[8]Yang Xianyi杨宪益, Dai Naidie戴乃迭（1957）译.鲁迅选集英文版(一) Selected Works of Lu Xun (一)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131994</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131994"/>
		<updated>2021-12-13T13:16:04Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of Kong I-Chi as a Case Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
&lt;br /&gt;
Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
&lt;br /&gt;
Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
&lt;br /&gt;
====Free translation====&lt;br /&gt;
&lt;br /&gt;
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
&lt;br /&gt;
American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
&lt;br /&gt;
American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
&lt;br /&gt;
　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
'''纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 3: Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
交际翻译理论指导下小说题材所适用的翻译方法和翻译策略—以韩国小说集《恩珠的电影》（节选）为例&lt;br /&gt;
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[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
刘越Liu Yue ，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd's &amp;quot;Pleasures of Ignorance&amp;quot; as an Example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
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=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
	&lt;br /&gt;
Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
&lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
&lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
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= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words ===&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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===Ambiguity===&lt;br /&gt;
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===Lexical and Structural Mismatches===&lt;br /&gt;
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===Multiword units: Idioms and Collocations===&lt;br /&gt;
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===Summary===&lt;br /&gt;
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===Further Reading===&lt;br /&gt;
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=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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	<entry>
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		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131900"/>
		<updated>2021-12-13T12:45:28Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of Kong I-Chi as a Case Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
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Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
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Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 5&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 6&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
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====Addition====&lt;br /&gt;
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Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
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Example 7&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
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Example 8&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
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====Free translation====&lt;br /&gt;
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Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
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Example 9:&lt;br /&gt;
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Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
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American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
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Example 10:&lt;br /&gt;
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Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
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American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
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　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
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In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
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In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=Chapter 2: The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
纽马克翻译理论指导下旅游文本中翻译策略与翻译方法的使用——以''Everglades National Park, Florida (Excerpt)''为例&lt;br /&gt;
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[[Trans_Type_EN_2]]&lt;br /&gt;
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刘晓 Liu Xiao, Hunan Normal University, China&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Keywords==&lt;br /&gt;
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Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Emergence and Development of Communicative Translation===&lt;br /&gt;
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According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
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At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
====Demolition Syntax====&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
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[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
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[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
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[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Chapter 4: On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd's &amp;quot;Pleasures of Ignorance&amp;quot; as an Example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
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[[Trans_Type_EN_4]]&lt;br /&gt;
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毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
=Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
&lt;br /&gt;
=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Non-formal Markers==&lt;br /&gt;
&lt;br /&gt;
The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
&lt;br /&gt;
Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
&lt;br /&gt;
According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
&lt;br /&gt;
Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
&lt;br /&gt;
The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
&lt;br /&gt;
Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=Chapter 7: A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
&lt;br /&gt;
3. Additional translation&lt;br /&gt;
&lt;br /&gt;
The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
&lt;br /&gt;
Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
&lt;br /&gt;
4. Omission &lt;br /&gt;
&lt;br /&gt;
The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
&lt;br /&gt;
Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
&lt;br /&gt;
Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
&lt;br /&gt;
Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
&lt;br /&gt;
====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
&lt;br /&gt;
Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
&lt;br /&gt;
====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
&lt;br /&gt;
6.Recasting&lt;br /&gt;
&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
&lt;br /&gt;
Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
&lt;br /&gt;
7.Sentence-combining&lt;br /&gt;
&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
&lt;br /&gt;
Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
&lt;br /&gt;
Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8.Dismantle the syntactic&lt;br /&gt;
&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
&lt;br /&gt;
Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
&lt;br /&gt;
Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
&lt;br /&gt;
====Case 5: Stylistic equivalence====&lt;br /&gt;
&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
&lt;br /&gt;
The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
&lt;br /&gt;
Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
&lt;br /&gt;
Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
&lt;br /&gt;
In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
&lt;br /&gt;
In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
&lt;br /&gt;
This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
&lt;br /&gt;
At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
&lt;br /&gt;
Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
&lt;br /&gt;
Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
&lt;br /&gt;
Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
&lt;br /&gt;
[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
&lt;br /&gt;
[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
&lt;br /&gt;
[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
&lt;br /&gt;
[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
&lt;br /&gt;
[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
&lt;br /&gt;
[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
&lt;br /&gt;
=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
&lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
&lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
&lt;br /&gt;
The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
&lt;br /&gt;
====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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Yang Liuqing杨柳青,Hunan Normal University,China.&lt;br /&gt;
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[[Trans_Type_EN_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
&lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
&lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
&lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
&lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
&lt;br /&gt;
In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
&lt;br /&gt;
Discussion &lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
&lt;br /&gt;
What is translation? &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Types of Translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
&lt;br /&gt;
Technical translation &lt;br /&gt;
&lt;br /&gt;
Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The benefits of technical translation&lt;br /&gt;
&lt;br /&gt;
A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
&lt;br /&gt;
Literary translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
&lt;br /&gt;
Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
&lt;br /&gt;
Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
&lt;br /&gt;
According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
&lt;br /&gt;
The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
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=== Theoritical Framework ===&lt;br /&gt;
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Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
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Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
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Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
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Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
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===Discussion and Analysis===&lt;br /&gt;
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The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
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4.1	Translation by Paraphrasing:&lt;br /&gt;
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Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
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TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
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BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
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So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: Khuda tomahra bala kari.&lt;br /&gt;
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TT: Your God will reward&lt;br /&gt;
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BT: Is ka badla khoda tomahi di.&lt;br /&gt;
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Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
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BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
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The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
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So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
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According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
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Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
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4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
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As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
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Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
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Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
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=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
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		<title>Trans Type EN 7</title>
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		<updated>2021-12-13T11:09:27Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: &lt;/p&gt;
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&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianan, Hunan University, China&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
&lt;br /&gt;
===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
&lt;br /&gt;
===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
&lt;br /&gt;
4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
&lt;br /&gt;
5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
&lt;br /&gt;
6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
&lt;br /&gt;
=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
&lt;br /&gt;
Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
&lt;br /&gt;
Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
&lt;br /&gt;
From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
&lt;br /&gt;
==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
&lt;br /&gt;
So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
&lt;br /&gt;
This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
&lt;br /&gt;
There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
&lt;br /&gt;
In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
&lt;br /&gt;
Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
&lt;br /&gt;
==== Syntax Analysis ====&lt;br /&gt;
&lt;br /&gt;
In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
&lt;br /&gt;
In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
&lt;br /&gt;
In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
&lt;br /&gt;
This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
&lt;br /&gt;
[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
&lt;br /&gt;
[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131646</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=131646"/>
		<updated>2021-12-13T11:07:37Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of Kong I-Chi as a Case Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
&lt;br /&gt;
Omission is a extremely important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.While the structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. So its structure form is relatively relaxed, and the words and sentences are relatively neat and unaffected.&lt;br /&gt;
&lt;br /&gt;
Therefore, Omission is one of the most common methods in Chinese text translation.Omission means that when translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, so as to make the translation smooth and avoid stiff and cumbersome.There are many examples of Omission in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory meaning.However, in the translation of this sentence, the translator adopted Omission method instead of translating every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, We hold the view that the Omission method can be can be used here once again, and we can change its translation into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but none of them are embodied by the translator in the process of translation. Would we say that he did not translate the Chinese meaning ? Of course not, the translator must have paid attention to the translation of the three “折”word, if they are translated one by one, it will appear that the sentence is too long-winded and does not accord with the subtitle translation.&lt;br /&gt;
Therefore, in order to persuade people to treasure, the translator skillfully omits the word “折”from the original translation, not only to avoid repetition, but also to convey the meaning of the original.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is also an important translation method in domestication strategy.The word-adding method is to compensate for the lack of language and culture in the translation by adding the missing meaning in the source text, including structural and semantic additions.The structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator’s addition of nouns, verbs, summative terms, explanatory terms and conjunctions to compensate for the lack of language and culture in the translation so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。” &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , which was translated as &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of Chinese culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for Chinese audience to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, it needs the translator to make an explanation, so that the American audience can understand the implicit meaning of the original text, and then reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 8&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 8, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, the same as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. Moreover, there is no English equivalent for &amp;quot;社稷&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;. In addition, the translator also interprets the word “龙脉”as “Heirs”, which is actually a concept in Feng Shui, referring to the rolling mountains. Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood “龙脉”.Therefore, the word “龙脉”here refers to the Emperor’s children, the translation of “Heirs”is a good expression of the meaning of “龙脉”. Compared with the word “children”, which is often spoken by people, heir is used less frequently and more advanced.&lt;br /&gt;
&lt;br /&gt;
====Free translation====&lt;br /&gt;
&lt;br /&gt;
Free translation means that when limited by the socio-cultural differences of the target language, the translator has to give up the literal meaning of the source text in order to make the question consistent with the content of the source text and the similarity of the main language functions. &lt;br /&gt;
Culture is the essence of the development and evolution of different nationalities. under the imperceptible influence of different cultures, there are great differences in people’s way of thinking in different countries, and different symbols may be used to express the same image. Therefore, free translation plays a particularly important role in the foreign translation of cultural texts, and this kind of translation has also appeared many times in the subtitle translation of ''Legend of Zhen Huan''.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“天下有多少女子希望自己入选，好一家子鸡犬升天。” &lt;br /&gt;
&lt;br /&gt;
American version: Every girl wished to be selected, so that her whole family could rise up through her success. &lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
Chinese version:“皇上春秋虽盛，然国本不可不早立。” &lt;br /&gt;
&lt;br /&gt;
American version:Even you are still young and healthy, a Crown Prince must be selected without delay. &lt;br /&gt;
&lt;br /&gt;
　　In Example 9,  it is necessary to pay attention to the translation of the word &amp;quot;鸡犬升天&amp;quot;. In traditional Chinese, &amp;quot;一人得道鸡犬升天&amp;quot; is an famous idiom. Later, it is extended as an analogy that when a person becomes an official, those who have a relationship with him also gain power. It satirizes those who depend on power and get promoted and make a fortune. So instead of translating“鸡狗”into English, the translator replaced it with“Throughout her success,”expressing the idea that the whole family would turn over and lead a superior life after their daughter’s selection.&lt;br /&gt;
&lt;br /&gt;
In example 3, the words “春秋虽盛”and “国本”are words with cultural significance. Among them, “春秋”is not in the real sense of “Spring”and “Autumn”, it represents a cycle of Spring planting and Autumn harvesting, referring to age or years.Therefore, the translator should not translate the term &amp;quot;春秋&amp;quot; literally into spring and autumn, High consideration should be given to the reality that the true meaning of this sentence is &amp;quot;although your Majesty is still strong&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In this sense,when translating this sentence, the translator omitted the term &amp;quot;春秋&amp;quot; and only translated the actual meaning of the sentence, which will be easier for foreign audiences to understand.It can be seen that the use of free translation method in the ''legend of Zhen Huan'' can fully convey the meaning of the original text and it is more in line with the domestication strategy in terms commonly used in British and American countries.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the subtitle translation strategy of Legend of Zhen Huan is mainly based on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted with the common expressions used in the target language.If there is an equivalent or similar expression between the target language and the source language, the cultural essence of the source language can be preserved by foreignization and concise explanation when the conditions permit, let the audience experience the charm and national characteristics of Chinese traditional culture. &lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
The Legend of Zhen Huan contains so many Chinese elements that it is understandable that it could not be translated into As Good as It Gets. By analyzing the characteristics of the translation of Chinese films and TV plays, and combining with the translation strategies of itself, the author aims to provide reference for improving the quality of the translation of Chinese films and TV plays, so as to better display the traditional Chinese culture to the world.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
&lt;br /&gt;
[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
&lt;br /&gt;
[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
&lt;br /&gt;
[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
&lt;br /&gt;
[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
&lt;br /&gt;
=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
'''correction：'''&lt;br /&gt;
&lt;br /&gt;
In terms of theory, based on Peter Newmark's translation theory, this paper selects a semantic translation strategy and proposes a corresponding translation method for the English-Chinese translation of the tourism text, Florida Everglades National Park (excerpt), which has certain guiding significance for the English-Chinese translation of the tourism text. Based on the practice of English-Chinese translation of Florida's Everglades National Park (excerpt) and the analysis of the application of Newmark's communicative translation strategies, this paper summarises some translation methods, such as phonetic conversion, objective and personal subject conversion, and the addition of conjunctions. And these methods can provide references for the future translation research and practice of others, and have certain practical significance.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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=====Conversion of part of speech=====&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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=====Public signs=====&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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=====Change of subjects and passive voice=====&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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=====Punctuation=====&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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'''correction：'''&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[12] Liu Junping, General History of Western Translation Theory [M]. Wuhan: Wuhan University Press, 2009.&lt;br /&gt;
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[13] Ma Chen. Implications of communicative translation strategies for Chinese-English tourism translation [J]. Journal of Zhengzhou Institute of Aviation Industry Management (Social Science Edition),2010,29(06):119-121.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:34, 12 December 2021 (UTC)&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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[[Correction:]] There are many translation practices guided by communicative translation theory, but not many in Korean novel translation. Therefore, it is of great significance to analyze the translation of Korean novels under the guidance of communicative translation theory. With the communicative translation theory as the theoretical foundation, this paper will take the Chinese translation of two novels &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the Korean novel collection ''Eun-ju's Movie'' as examples, and analyze the translation methods and translation strategies in lexical, syntactic and rhetorical respects, so as to provide better understanding of Korean novels and more effective guidance for the Korean novel translation practice. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Keywords==&lt;br /&gt;
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Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section will briefly introduce the emergence and development of communicative translation, and the applicability of communicative translation theory to the translation of popular novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Emergence and Development of Communicative Translation===&lt;br /&gt;
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According to the function of language, i.e. the purpose for which it is used, Newmark proposes the following three text types: expressive text, informative text, and vocative text.&lt;br /&gt;
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At the heart of the expressive function is the use of words by the speaker or author to express his or her thoughts and feelings. The author's unique form of language is as important as the content.Expressive function texts emphasise the authority of the original author, and translations should follow the principle of &amp;quot;original author first&amp;quot;, faithful to both the content of the ideas expressed by the original author and the language style of the original author, without regard to the reaction of the target reader. The core of the information function is the external context, i.e. all the information about a topic, or the unspeakable reality. At the heart of the information text is the &amp;quot;authenticity&amp;quot; of the content; the author's language is secondary. Translation should be based on the principle of &amp;quot;authenticity first&amp;quot;. The call to action is reader-centred and aims to &amp;quot;call the reader to action, to think, to feel&amp;quot;. The translation should follow the principle of 'reader first', putting the reader of the target language first. The translator can make full use of the advantages of the incoming language, without adhering to the expressions of the original, so that the translated language can achieve the same effect as the original.&lt;br /&gt;
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[[Correction:]] The first type is the expressive text. Its core is the expression of feelings and the conveyance of ideas. In this kind of text, the original author's unique language form and content are equally important. Consequently, with regard to the translation of expressive texts, the translator should follow the &amp;quot;author-first&amp;quot; principle, faithful to the original author's ideas and language form, without considering the target-language readers' reaction. The expressive texts include literary works, personal letters, autobiographies and prose. The second type is the informative text. The core of this kind of text is the external context, i.e. all the information about a topic, or the unspeakable reality. Concerning the informative text, the emphasis is placed on authenticity and the reality outside the language, so the translator should follow the &amp;quot;authenticity-first&amp;quot; principle in translation, with the original author's language in the secondary position. The informative texts include the non-literary works, textbooks, academic papers, newspapers and magazines, etc. The third type is the vocative text. This type has the readers-centered feature, calling on the readers to act, think and feel. Therefore, the translator should follow the &amp;quot;readers-first&amp;quot; principle, making full use of the advantages of the target language, and not confined to the original expressions, so that the translated text can produce the same effect as the source text. The vocative texts include product instructions, brochures, advertisements, etc. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the theory of communicative translation focuses on the understanding and reaction of the recipient, the reader of the translation, and more on the effect rather than the content of the translated expression. The translator can give full play to the advantages of the translated language and introduce foreign elements into the culture of the translated language, with the advantages of naturalisation, Italian translation and idiomatic translation. Semantic translation attaches importance to the original text, focuses on its semantic content and strives to preserve the culture of the original text, and has the advantages of word-for-word, word-for-word and faithful translation. Communicative translation is suitable for informative and attractive texts such as autobiographies, personal emotional declarations, important political statements (or other statements), most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional material, advertisements, announcements, popular fiction. (Yang 1989:68-71)# His communicative and semantic translations have largely enriched the study of translation theory and influenced the field of translation.&lt;br /&gt;
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[[Correction:]] On this basis, the two translation concepts, communicative translation and semantic translation, are proposed. Newmark believes that the communicative translation theory emphasizes the recipients' or readers' understanding and reaction, and focuses more on the effect that the translation generates than its content. With communicative translation, the translator can give full play to the advantages of the target language, and introduce foreign elements into the target-language culture through domestication and idiomatic translation. At the same time, semantic translation attaches importance to the original text, keeps an eye on its semantic content and strives to preserve the source-language culture, featuring the advantages of literal translation and faithful translation. Communicative translation is suitably applied in informative and attractive texts such as autobiographies, personal emotional declarations, important statements, most non-literary texts, news, intellectual articles and books, textbooks, reports, scientific and technical literature, official correspondence, promotional materials, advertisements, announcements, as well as popular fiction. (Yang 1989: 68-71) Newmark's communicative and semantic translations have largely enriched the study of translation theory and influenced translation field. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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===Applicability of Communicative Translation Theory to the Translation of Popular Novels===&lt;br /&gt;
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First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.( Shuang 1999(05):840）&lt;br /&gt;
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[[Correction:]] First of all, communicative translation theory accentuates the core that the translation, based on its faithfulness to the content of the original text, lays stress on the readers' understanding ability and feelings, and pays more attention to the expressive effect of the target-language text than its content. The translator can take advantage of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical and ambiguous with redundant words and ambiguities in the sentences, as well as dialects, coarse slang and other peculiar language phenomena, the translator has the right to reorganize the syntactic structure,  and use collocations as well as common sentence patterns in accordance with the habits of the target language, so as to render the language more standardized and natural and to improve the quality of translation. And the translator is also entitled to correct the errors and omissions in the original text. (Shuang 1999 (05): 840) (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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[[Correction:]] Secondly, according to Newmark's classification of text types, communicative translation theory is applicable to vocative texts, which stress their inspirational effect and take the target-language readers as the center. The purpose of translation is to elicit the expected response, which also resides in the translation of popular books and best-selling novels. The common goal of communicative translation and the vocative text is to enable readers to think and resonate emotionally. Additionally, the novel, consisting mainly of characters, plots and environmental descriptions, often reflects the social reality. And it is a literary genre that conveys thoughts and feelings and arouses readers' empathy, hence the novel falls into vocative text, and communicative translation theory is available to novel translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, the translator should describe the plot of the original text and try to get close to the literary image depicted by the original author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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[[Correction:]] Only limited to the content and textual structure of the original text, the translators will violate the initial intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translators can bring the advantages of the target language to full play, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, so that the translation can be more smooth. Meanwhile, the translators can also pay more attention to the target-language readers, take their reading habits and thinking mode into full consideration, and employ easy-to-understand language to convey the information of the source text and the original author's thoughts and feelings, attempting to produce on its readers an effect as close as possible to that obtained on the readers of the original. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==Case Study under the Guidance of Communicative Translation Theory==&lt;br /&gt;
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Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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[[Correction:]] Guided by Peter Newmark's communicative translation theory, the paper will carry out analysis of translation strategies in two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. &lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Lexical Level===&lt;br /&gt;
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[[Correction(addition of a transitional paragraph):]] This section, under the guidance of communicative translation theory, will elucidate the application of translation strategies in Korean novel at the lexical level, such as conversion and extension. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Conversion====&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.(Chen 1994)# The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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[[Correction:]] Conversion at the lexical level refers to the change of parts of speech in the original text, such as the conversion of nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the target-language expression habits. As a result of the fact that different languages have different linguistic phenomena and cultural backgrounds, in order to make the translation more in line with the expression habits of Chinese language and convey the correct meaning of the original text to the Chinese readers, the words word in the Korean sentences cannot be translated too rigidly, and sometimes the word class in the original text should be changed when translating. (Chen 1994) For example, (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
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First translation：那一刻我觉得孩子不像老人，而像少年家长。 &lt;br /&gt;
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Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다. &lt;br /&gt;
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Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
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In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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====Extension====&lt;br /&gt;
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Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression. &lt;br /&gt;
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[[Correction:]] Extension refers to the translation method by which the essence of the original text can be accurately expressed through the use of some expression methods in line with the expression habits of Chinese and the selection of exact and idiomatic Chinese words, according to the internal coherence of the context. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다. ②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
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Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。 ②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. &lt;br /&gt;
Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는 것이리라. ②형이 옆구리를 툭 치며. ③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라. &lt;br /&gt;
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Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。 ②大哥用胳膊肘戳了我一下。 ③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===Translation Strategies and Methods under Communicative Translation Theory at Syntactic Level===&lt;br /&gt;
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Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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[[Correction:]] Communicative translation theory points out that the translator should give full play to the advantages of the target language and enable the translation to conform to the expression habit of the target language, leaving no arcane to readers. Since Korean and Chinese belong to different language families, there are distinctions in their expression habits. This part, with communicative translation theory as the theoretical basis, will analyze the translation methods at syntactic level in two short stories &amp;quot;The Pure Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. The three methods that will be mainly discussed are interpretation method or paraphrase, demolition syntax or deconstruction, and cotranslation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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====Interpretation Method====&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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[[Correction:]] Interpretation method is also known as hermeneutic method or paraphrase. Considering the differences in expressions habits between Chinese and Korean, in the process of translation, paraphrase method can be used to diminish some ambiguities in sentences, which can not only clarify the sentences in the translation, but also accurately convey the original author's purpose. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
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First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
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Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
====Demolition Syntax====&lt;br /&gt;
&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
====Cotranslation====&lt;br /&gt;
&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Cotranslation, also known as combination, refers to the translation method by which two or more sentences in the original text are combined into a single sentence in the target-language text. The use of combined translation can reduce long-windedness and redundancies in translation, obtaining a smooth, natural and lucid translation. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===Translation Strategies and Methods under Communicative Translation Theory at Rhetorical Level===&lt;br /&gt;
&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] In view of communicative translation theory, the translator should take the readers to heart, and pay more attention to the expression effect compared to the conveyance of the content. The excellent expression effect that can engender the readers’ resonance and lead them to think majorly resorts to the use of rhetoric. This section, guided by communicative translation theory, will enunciate the translation methods at the rhetoric level employed in the Chinese translation of the two Korean short stories. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
[[Correction:]] Addition is a translation method by which some items should be added to the target-language text in order to accurately express the meaning of the source text, make the translation correspond with the expression habits of the target language and meet the the target-text readers' needs. Since Chinese and Korean have different pragmatic ways and expressive modes, some specific words or sentences should be added in the translation to render the translation more consistent with the Chinese context, the readers' reading habits and the concrete meaning of the original text. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
====Repetition====&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits. From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
[[Correction of Conclusion:]] &lt;br /&gt;
&lt;br /&gt;
This paper selects the south Korean writer Kong Shanyu's two short stories &amp;quot;The Innocents&amp;quot; and &amp;quot;The Goat Family&amp;quot; excerpted from the novel collection ''Eun-ju's Movie'', and interprets translation strategies and methods at lexical, syntactic and rhetorical levels in their Chinese translations, under the guidance of Peter Newmark's communicative translation theory. The two stories both boast the simple and natural language as well as a small amount of Korean dialects, along with the lifelike characterization, describing family members of the past and making a contrast between the past and the present reality. The two short novels reflect the social reality that with the development of society, people have become selfish and indifferent, and the family warmth and human feelings seem to be more distant from the individuals, so as to explore the history and significance of the &amp;quot;family&amp;quot; as well as the simple and harmonious social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
According to Peter Newmark's communicative translation theory, translation should be faithful to the source text, and the translator can give full play to the advantages of the target language, get rid of the constraints of the source-language structure, and focus on the expressive effect that the target-language text produces. What's more, in the light of the text types categorized by Newmark, communicative translation theory applies to appeal or vocative texts, which keep a close eye on the target-language readers and intend to elicit the desired response, and popular books and novels fall into this text type. Besides, the common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. In a word, the interpretation of translation strategies and methods in Chinese translation of Korean novels guided by communicative translation theory is feasible.&lt;br /&gt;
&lt;br /&gt;
From the analysis in the lexical aspect, this paper demonstrates that the translation techniques --- conversion and extension --- are used in Chinese translation of these two Korean short stories. Such Chinese translation, fully considering the context and taking Chinese readers as the center, complies with the Chinese expression and language habits. Given the readers' understanding capability, the translator employs conversion of word class and extension of lexical meaning, so as to satisfy the needs of both the original readers and the target-language readers. Meanwhile, the use of conversion and extension also ensures the accuracy and flexibility of the translated vocabulary. At the syntactic level, the original two stories embrace a lot of long sentences and attributive clauses, as well as some sentences with relatively obscure substances. Thus, the adoption of paraphrase, deconstruction and combination, which re-explain, split, reorganize the sentences, reduces ideographic unclarity as well as long-wined sentences and diversify the sentence patterns, rendering the translation close to the target-language readers. In the rhetorical respect, communicative translation theory attaches greater importance to the expressive effect of the translation compared with the delivery of the content, and the use of rhetoric can result in exceptional expression effect. Consequently, the application of addition and repetition modifies and polishes the original text, so that the artistic charm of the translation can be enhanced, the desirable impression can be deepened, and the readers' reflection and emotional resonance can be aroused.&lt;br /&gt;
&lt;br /&gt;
To sum up, it can be seen that Peter Newmark's communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for future translation practices. With communicative translation theory, the translator who adheres to the &amp;quot;readers-first&amp;quot; principle can get rid of the limitation of the original text, give full play to the advantages of the target language, and adjust the sentence structure and textual logic, so as to further improve the quality of translation.&lt;br /&gt;
&lt;br /&gt;
However, owing to the confined conditions and limited academic capacity, there are also shortcomings in this paper: firstly, the paper takes only two pieces of Korean short stories as examples in case study, so it lacks strong persuasiveness and representativeness; secondly, since there are few researchers on Chinese translation of Korean novels at home and abroad, this paper resorts to insufficient literature guidance and reference. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to elaborate on and improve Chinese translation of Korean novels. (corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC))&lt;br /&gt;
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==References==&lt;br /&gt;
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'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
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[2]. JIAN Fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
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[3]. LI Xin, ZHANG Zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
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'''Korean literature:'''&lt;br /&gt;
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[4]. Gong Seon-ok. In the 1980s, my literature Gwangju, and my life's hardship [J]. History of Criticism, 1995 (08).&lt;br /&gt;
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[5]. Kang Young-mi. Preliminary review of the singing movement in the 1970s and 1980s [J]. Mental Culture Research 41(3), 2018.(09).&lt;br /&gt;
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[6]. Kim Young Hee. Modern and Alternative Experience and Women--Park Wan-seo, Kim In-sook, and Gong Sun-ok's novel [J]. Creation and Criticism 23(3), 1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. Osunbang. A study of the translation of novels in modern China and the two-way translation of Sino-Korean novels[J]. Seoul: Sungsil University Press, 2008.&lt;br /&gt;
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'''Chinese Literature:'''&lt;br /&gt;
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[8]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theories [J]. Journal of Xiangtan University (Social Science Edition), 1994,(08): 87-91.&lt;br /&gt;
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[9]. Si Jitao and Yan Honglan. The translation of split sentences and combined sentences in English-Chinese translation[J]. Journal of Guangxi Right River Nationalities Teachers College,2005(02):21&lt;br /&gt;
&lt;br /&gt;
[10]. Chen Lin. A comparison of Eugene A. Naida and Peter Newmark's translation theory [J]. Journal of Xiangtan University (Social Science Edition), 1994, (08).&lt;br /&gt;
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[11]. Yang Shi-Zhuo. A brief analysis of Newmark's theory of semantic and communicative translation[J]. Fujian Foreign Language, 1989:68-71.&lt;br /&gt;
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corrected by--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 05:08, 12 December 2021 (UTC)&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s &amp;quot;Pleasures of Ignorance&amp;quot; as an example=&lt;br /&gt;
&lt;br /&gt;
'''浅析英语散文汉译中的翻译策略——以罗伯特·林德《无知的乐趣》汉译本为例'''&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
毛雅文 Mao Yawen, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
==摘要==&lt;br /&gt;
&lt;br /&gt;
散文是与诗歌、小说、戏剧并称的一种文体，不拘泥于韵律、情节、人物，形式灵活，真实自然。英语散文历史悠久，类型多样，是翻译实践与研究中的重要研究对象。在我国，最著名的英语散文家是弗朗西斯·培根和查尔斯·兰姆，他们的作品也因此成为英语散文汉译的重点。而事实上，我国翻译界更加重视的是诗歌与小说的汉译，英语散文汉译的研究相较之下比较滞后。本文将以英语散文为切入点，介绍英语散文的特点及其在我国的汉译研究，并以英国现代散文家罗伯特·林德的代表作《无知的乐趣》汉译本为例，主要分析其中的策略及方法。&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Pleasures of Ignorance&amp;quot;; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
&lt;br /&gt;
《无知的乐趣》；英语散文汉译；翻译策略；翻译方法；翻译技巧&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
===Research Background and Significance===&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see. (Hou Qiang 2014: 1)&lt;br /&gt;
&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose. (He Xiuqin 2018: 6) (Song Jie 2018: 1)&lt;br /&gt;
&lt;br /&gt;
===Methodology and Structure===&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work &amp;quot;Pleasures of Ignorance&amp;quot; as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
==Literature Review==&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives, the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong's thoughts on prose translation which have guiding significance for prose translation practice. (Hou Qiang 2014: 4)&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory. (Hou Qiang 2014: 5)&lt;br /&gt;
&lt;br /&gt;
These researches and investigations have laid a solid foundation for future studies and the analysis in this paper.&lt;br /&gt;
&lt;br /&gt;
==Overview of English Prose==&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
This section will clarify the distinctive characteristics and linguistic features of English prose, as well as its translation principles.&lt;br /&gt;
&lt;br /&gt;
===Distinctive Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers. (Zhang Baohong 2011: 28)&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author's specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line. (Zhang Baohong 2011: 29)&lt;br /&gt;
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===Linguistic Features of English Prose===&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings. (Zhang Baohong 2011: 29)&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
===Principles of English Prose Translation===&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed. (Zhang Baohong 2011: 30)&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice. (Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.(Zhang Baohong 2011: 31)&lt;br /&gt;
&lt;br /&gt;
All in all, a general understanding of English prose can facilitate the study of its Chinese translation.&lt;br /&gt;
&lt;br /&gt;
==Case Study of Chinese Translation of &amp;quot;Pleasures of Ignorance&amp;quot;==&lt;br /&gt;
&lt;br /&gt;
The selected source text is &amp;quot;The Pleasures of Ignorance&amp;quot;, written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of &amp;quot;The Pleasures of Ignorance&amp;quot; will be analyzed in terms of translation strategies and methods. (Zhu Mingju 2007: 326)&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. Translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively. (Xiong Bing 2014: 84)&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration. (Venuti, 2004: 20) (Lian Shuneng 2006: 13)&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. (Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
====Zero-Translation====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. (Fang Mengzhi 2011: 108)&lt;br /&gt;
&lt;br /&gt;
In Professor Liu's Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
====Transliteration====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names. (Lian Shuneng 2006: 344)&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. (Lian Shuneng 2006: 346)&lt;br /&gt;
&lt;br /&gt;
For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot;. In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, free translation method and imitation method under domestication are used and displayed in several translation techniques. (Venuti 2004: 20) (Lian Shuneng 2006: 14)&lt;br /&gt;
&lt;br /&gt;
====Free Translation====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound &amp;quot;foreign&amp;quot;. (Shuttleworth &amp;amp; Cowie, 2014: 59)(Lian Shuneng 2006: 12)&lt;br /&gt;
&lt;br /&gt;
Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
====Imitation====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance, (Xiong Bing 2014: 85)&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator’s superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its ''runaway flight'' as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall ''see'' the world as a garden through ''the eyes'' of a stranger, ''my breath taken away with surprise by the painted fields''.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，''放眼四望''，''五色缤纷''的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望&amp;quot; (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.    &lt;br /&gt;
&lt;br /&gt;
The reasonable use of the imitation translation method can make the translation more idiomatic and vivid, and even enable the translation overshadow the original text in terms of showcasing the artistic and aesthetic charm.&lt;br /&gt;
&lt;br /&gt;
In a word, translation methods under domesticating strategy will involve he careful selection of texts which lend themselves to being translated in this manner, the conscious adoption of a fluent, natural-sounding target language style, the adaptation of target text to conform to target discourse types, the interpolation of explanatory material, the removal of source language REALIA and the general harmonization of target text with target language preconceptions and preferences. These methods can render the translation highly literary, aesthetic and readable, and also can to some extent optimize the source text. The appropriate application of domesticating translation is able to even become a sublimation of the original.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot; in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
===Major Findings===&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of &amp;quot;Pleasures of Ignorance&amp;quot;, the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions===&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. Shanghai: Shanghai Foreign Language Education Press 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 43-44, 59, 144-145.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 108.&lt;br /&gt;
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Fang Mengzhi. Dictionary of Translation Studies in China [M]. Shanghai: Shanghai Foreign Language Education Press, 2011: 108 &lt;br /&gt;
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Hou Qiang. On the Translation Strategies of English Prose: A Case Study of the Chinese version in &amp;quot;Han Suyin Award for Young Translators&amp;quot; [D]. Xiamen: Xiamen University, 2014.&lt;br /&gt;
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&lt;br /&gt;
==Appendix==&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
&lt;br /&gt;
When in the oak's green arms the cuckoo sings, &lt;br /&gt;
&lt;br /&gt;
And first delights men in the lovely springs.&lt;br /&gt;
&lt;br /&gt;
This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
&lt;br /&gt;
And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
&lt;br /&gt;
If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
&lt;br /&gt;
And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing. (Zhu Mingju 2007: 319-322)&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。 (Zhu Mingju 2007: 322-325)&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===摘要===&lt;br /&gt;
鲁迅，作为中国近代文化大革命的总指挥，不仅是伟大的思想家和政治评论家，还是中国现代文学的奠基人。孔乙己是鲁迅小说的代表作之一。虽然总字数不足3000字，但鲁迅通过其人物刻画，揭露了封建伦理的本质及其负面影响，深受海内外读者的喜爱。本论文以杨宪益夫妇的译文为研究对象的主要原因是它不仅忠实于原文，而且在句法结构和措辞上尽可能接近原文。因此，他的译本一度成为鲁迅小说的权威版本。本论文从奈达的功能对等理论出发，对著名作家杨宪益的英译本进行翻译研究，分析译文是否与原文功能对等，从词汇、句法、语义层面试图探讨孔乙己的翻译策略、风格和方法，旨在解释鲁迅短篇小说翻译中的功能对等。&lt;br /&gt;
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===关键词===&lt;br /&gt;
功能对等，鲁迅，孔乙己，翻译方法&lt;br /&gt;
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===Title===&lt;br /&gt;
A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
&lt;br /&gt;
In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Girl. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. &lt;br /&gt;
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There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. &lt;br /&gt;
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In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
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Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, In this paper i have adopted the following translation skills in the process of translation: &lt;br /&gt;
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1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part discusses the purpose and significance of the research; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. &lt;br /&gt;
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The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of her personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. &lt;br /&gt;
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Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, she went through escape, pursuit, hiding until he went north by boat. &lt;br /&gt;
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The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and its application ===&lt;br /&gt;
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==== Functional equivalence theory ====&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. &lt;br /&gt;
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In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only lexical equivalence, but also semantic style and stylistic equivalence. The information conveyed by translation includes both surface lexical information and deep cultural information. There is also equivalence in dynamic equivalence, including lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence.&lt;br /&gt;
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Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information.&lt;br /&gt;
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Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies in translation.&lt;br /&gt;
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According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. &lt;br /&gt;
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Frist, According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language.second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association. third, forward and reverse translation is used to reproduce the original text .Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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====Case 1: literal translation and free translation to achieve semantic equivalence in vocabulary====&lt;br /&gt;
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In the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
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The example 1:“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
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Analysis: In this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
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The example 2: I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
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literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
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free translation: 就工作而言，我决心让他找不到口实指责我养尊处优&lt;br /&gt;
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Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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====Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language====&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
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The example 4: One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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Translated text: 一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
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Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
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The example 5: The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
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Translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6: But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
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Translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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====Case 3: The stylistic style of the original text is reproduced by positive and negative translation====&lt;br /&gt;
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5.The Positive and Negative Translation&lt;br /&gt;
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The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
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Translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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====Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language====&lt;br /&gt;
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There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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6.Recasting&lt;br /&gt;
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The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
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Translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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7.Sentence-combining&lt;br /&gt;
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The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
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Translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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8.Dismantle the syntactic&lt;br /&gt;
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The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
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Translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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====Case 5: Stylistic equivalence====&lt;br /&gt;
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The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
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The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
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The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
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In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
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Translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
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The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature.&lt;br /&gt;
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In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. &lt;br /&gt;
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In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. &lt;br /&gt;
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This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
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The author has two experiences in maintaining problem awareness in the translation process. First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
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At the same time, there are some problems in the process, My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project:&lt;br /&gt;
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Frost, Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. &lt;br /&gt;
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Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice——Take His Translation of Romantic Poems as Examples=&lt;br /&gt;
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[[Trans_Types_10]]&lt;br /&gt;
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=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
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===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
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===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday 2012, 37) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015, 10). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh argues that translation is one of the traditional communicating methods between communities all around the world. (Khammyseh 2005, 9). Jothiraj states that “translation plays an important role in the inter-lingual process of communication”(Jothiraj 2004, 1. Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby assumed that “Culture refers to all socially conditioned aspects of human life”.(Snell-Hornby 1988, 33). Another definition of culture is formulated by Goodenough. For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term.&amp;quot;(Goodenough 1957, 167. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline thought that “religion is an important institutional network that binds people to one another”(Lustig and Joline 2003, 16). But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion, seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes.(Newmark 1988, 81). These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL.&lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
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Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.&lt;br /&gt;
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The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
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Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
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Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
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This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
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3.2 Literal translation &lt;br /&gt;
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In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
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3.4 Semantic Translation &lt;br /&gt;
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Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
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3.5 Adaptation &lt;br /&gt;
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This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
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3.6 Free Translation &lt;br /&gt;
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The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
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3.7 Idiomatic Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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3.8 Communicative Translation &lt;br /&gt;
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This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                            قرُۡءٰنًا	Quran &lt;br /&gt;
                          ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference                يعَۡقوُۡب	Yaqub &lt;br /&gt;
                             اِسۡحٰق	Ishaq &lt;br /&gt;
                          يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
  &lt;br /&gt;
The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
&lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
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=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims to observe the development of translation studies through its different types, various strategies, styles and particular methods. In this paper, the readers are introduced to some famous translation scholars including their view of translation studies. At the further discussions, this study lets the readers acknowledge the main issues on translation studies, focusing on different styles of variations such as grammar, sentence structure, textual analysis, strategies and methods. This study may help those who are interested to conduct translation researches and help them by giving options of which theories is beneficial to their analysis. Moreover, it aims to explore the clear definition of translation as well as help the readers to understand the basic concept which are used in the field of translation. The present study, therefore, attempts to outline the scope of the discipline of translation studies and more importantly, it is an attempt to outline its activity that required a deep mastering of language, a good source of knowledge and target cultures.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
Translation, styles of variations, strategies&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
It is undoubtedly right that translation is important to share information. In line with these premise, the number of translation professionals is getting higher. In fact, the result of translation researches tends to help human daily life in term of evaluation, designing translator machines, and cultural studies.	 Therefore, translation means converting written information from one language into another. It is the new discipline appeared in the second half of the 20th century. The term “Translation Studies” was coined by James S. Holmes, an American-Dutch poet and translator of poetry, in his seminal paper “The Name and Nature of Translation Studies”.  Translation enables effective communication between people around the world. It is a courier for the transmission of knowledge, a protector of cultural heritage, and essential to the development of a global economy. Translation helps us to know about the developments in the field of creative arts, education, literature, business, science and politics. It has shifted from the traditional conception of the fixed, stable and unchangeable nature of the text and its meaning to a text with wide scope for variations. Translation also helps in nation building. In this globalised world, the demand for translation and language related services has increased many times. Translation is not only needed for the creation of national identity but has also become an essential tool for keeping pace with the processes of globalization and localization. The activity of translation has a long-standing tradition and has been widely practiced throughout history, but in our rapidly changing world its role has become of paramount importance. Nowadays, knowledge in which cultural exchanges have been widening, has been increasingly expanding and international communication has been intensifying, the phenomenon of translation has become fundamental. Be it for scientific, medical, technological, commercial, legal, cultural or literary purposes, today human communication depends heavily on translation and, consequently, interest in the field is also growing. Accordingly, the discussion, in the present study, proceeds primarily from the perspectives of “Translation Studies” and “Linguistics”. One major goal is to show the interrelationships between linguistics and translation, and how they benefit from each other. Nowadays, translation research has started to take another path, which is more automatic. The invention of the internet, together with the new technological developments in communication and digital materials, has increased cultural exchanges between nations. This leads translators to look for ways to cope with these changes and to look for more practical techniques that enable them to translate more and waste less. They also felt the need to enter the world of cinematographic translation, hence the birth of audiovisual translation. The latter technique, also called screen translation, is concerned with the translation of all kinds of TV programs, including films, series, and documentaries. This field is based on computers and translation software programs, and it is composed of two methods; dubbing and subtitling. In fact, audiovisual translation marks a changing era in the domain of translation.&lt;br /&gt;
In short, translation has very wide and rich history in the West. Since its birth, translation was the subject of a variety of research and conflicts between theorists. Each theorist approaches it according to his viewpoint and field of research, the fact that gives its history a changing quality.&lt;br /&gt;
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Discussion &lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation. For each type, a selection of examples will be considered for analysis based on translation theories and techniques. We will show that some chunks of text require literal translation, while other requires interpretive method. In addition, this paper will also examine various strategies and its styles of variations based on translational study. The following strategies will be presented in the paper as; &lt;br /&gt;
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•	They involve text manipulation.&lt;br /&gt;
•	They must be applied to the process.&lt;br /&gt;
•	They are goal-oriented.&lt;br /&gt;
•	They are problem-centered.&lt;br /&gt;
•	They are applied consciously.&lt;br /&gt;
•	They are inter-subjective.&lt;br /&gt;
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Most theorists agree that strategies are used by translators when they encounter a problem and literal translation is not useful. Different researchers have investigated and described various translation strategies from their different perspectives. It intends to show what translation strategies exist and when and why they are used by professional translators. Different scholars have various perspectives to the aspects of the act of translation, so, they define and describe different types of strategies. Bergen's (n. d.) classification of the strategies includes three categorizations which will be discussed mainly in this paper: &lt;br /&gt;
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•	Comprehension strategies &lt;br /&gt;
•	Transfer strategies&lt;br /&gt;
•	Production strategies&lt;br /&gt;
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An addition to this paper, styles of variations will also be introduced to the readers through different aspects and examples. The concept of style can be defined in terms of the distinctive way an individual or a group uses language, or better still the discourse used to perform distinct functions of language aimed at achieving specific purposes. However, this does not entail that style is simply a matter of form since it is the product of other components such as the genre of discourse, its semantics, syntax and phonology. Indeed, in order to analyze a given stylistic variation one needs an extensive checklist that includes lexical and grammatical categories, allusions, and figures of speech. Style can be understood to refer to the recurring typical features of the source text compared to the typical features of the translated text.  In a quantitative and qualitative analysis, this variation is shown to be influenced by several pragmatic and social factors, and to index the interpreters' stances towards source speakers and towards the immigrant court users who are the recipients of translations from English. It is argued that translation styles have profound consequences for limited English speakers, as the insistence on institutional norms in translating to them is viewed as a gate keeping behavior that may impede their full participation in the proceedings. &lt;br /&gt;
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What is translation? &lt;br /&gt;
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Translation went through various definitions going from a mere linguistics activity during the sixties, a cultural and communicative activity during the seventies reflects the social impacting activity in the latest founding of the literature. &lt;br /&gt;
“Translation is traditionally known as being the replacement of textual material in one language into equivalent textual material in another language”. &lt;br /&gt;
House (2015) mentions that translation is considered as the “replacement” of a text in the source language by a semantically and pragmatically equivalent text in the target language. It is strongly related to a source language and target language cultures. It requires a high level of mastery languages, an awareness of any contextual factors within which the discourse emerges. There is no need to mention how it affected civilizations through different areas of mankind history. For example, An Arab-Islamic civilizations. There have always been different directions on how one should or should not translate. In the Arab tradition, two main methods existed and were in complete divergence namely the literal and the free method. &lt;br /&gt;
On the other hand, in the Western tradition there are various methods currently exist namely, the linguistic, the hermeneutic, the interpretive, the functionalist, the interventionist, the poly-systemic and the text-typologist method.  More so, it may be important to point out that translation has been defined in many ways, and every definition reflects the theoretical approach underpinning it. &lt;br /&gt;
As Shuttlworth and Cowie (1997) observe throughout the history of research into translation, the phenomenon has been variously delimited by formal descriptions, echoing the frameworks of the scholars proposing them. For example, Bell (1991: XV) starts with an informal definition of translation, which runs as follows: the transformation of a text originally in one language into an equivalent text in a different language retaining, as far as is possible, the content of the message and the formal features and functional roles of the original text. &lt;br /&gt;
At the beginning of the ‘scientific’ (Newmark, 1988, p. 2) study of translation, Catford (1965, p. 20) described it in these terms, the replacement of textual material in one language (SL) by the equivalent textual material in another language. &lt;br /&gt;
Thirty years later, in Germany, the concept of translation as a form of ‘equivalence’ is maintained, as we can see from Koller’s definition (1995, p. 196): “The result of a text processing activity, by means of which a source language text is transposed into a target-language text. Between the resultant text in L2 (the target-language text) and the source text in L1 (the source language text) there exists a relationship, which can be designated as a translational, or equivalence relation”. Because complete equivalence (in the sense of synonymy or sameness) cannot take place in any of his categories, Jakobson (1959) declares that all poetic art is, therefore, technically untranslatable. That is, the translator has to take the question of interpretation into account in addition to the problem of selecting a TL phrase which will have a roughly similar meaning. Exact translation is impossible. In this regard, Bassnett (1996) claims that all texts, being part of a literary system descended from and related to other systems are “translations of translation of translations”: every text is unique and at the same time, it is the translation of another text. No text is entirely original because language itself, in its essence, is already a translation: firstly, of the non-verbal world and secondly, since every sign and every phrase is the translation of another sign and another phrase. However, this argument can be turned around without losing any of its validity: all texts are original because every translation is distinctive. Every translation, up to a certain point, is an invention and as such it constitutes a unique text.&lt;br /&gt;
In this analysis of the above definition, Manfredi (2008), points out that the above distinction can be divided into two main perspectives, those that consider translation either as a ‘process’ or a ‘product’. To this twofold categorization, Bell (1991, p. 13) adds a further variable, since he suggests making a distinction between translating (the process), a translation (the product) and translation (i.e., “the abstract concept which encompasses both the process of translating and the product of that process”. Moreover, thanks to advances in new technologies, today we can also incorporate into TS the contribution of corpus linguistics, which allows both theorists and translators analyses of large amounts of electronic texts (Manfredi, 2008). On the other hand, Halliday (1992, p. 15) takes translation to refer to the total process and relationship of equivalence between two languages; we then distinguish, within translation, between “translating” (written text) and “interpreting” (spoken text). Halliday, thus, proposes distinguishing the activity of “translation” (as a process) from the product(s) of “translating”, including both “translation” (concerning written text) and ‘interpreting’ (regarding spoken text.&lt;br /&gt;
“Translation is the production of a functional target text maintaining a relationship with a given source text that is specified according to the intended or demanding function of the target text.&lt;br /&gt;
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Types of Translation&lt;br /&gt;
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Translation is an activity that requires deep mastering of languages, a good knowledge of source and target cultures. It is also linked with the translation method, strategies and styles of variations. Each translation type requires different translation method. In this paper, it is an attempt to outline that there are several types of translation. Each type is defined by different scholars through different criteria to the contextual situation of communication. In this paper, we will be writing down the three prominent types of translation through various medium namely; technical translation, literary translation and pragmatic translation.&lt;br /&gt;
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Technical translation &lt;br /&gt;
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Technical translation is a type of specialized translation involving the translation of documents produced by technical writers, or more specifically, texts which relate to technological subject areas or texts which deal with the practical application of scientific and technological information. (Wikipedia) &lt;br /&gt;
Translators' main goal is to accurately translate the technical terminology to match the document and the message of the original content.&lt;br /&gt;
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The benefits of technical translation&lt;br /&gt;
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A professional technical translation service is provided by translators with dual specialties, that is, professionals who are fluent in the language pair, but who are also experts in the field covered by the documents to be translated.&lt;br /&gt;
When you need to have your documents translated by a technical translator, translators who are not experts may not be able to provide the necessary solutions and terminology for a quality translation. If the translator is not an expert in the field, he/she will have to learn the new terminology while working. This means that translation will take longer, have higher chances of inaccuracies, and may result in higher costs. Therefore, the main advantages of hiring an agency specialized in this type of service are as follows:&lt;br /&gt;
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Literary translation&lt;br /&gt;
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Literary translation is the translation of creative and dramatic prose and poetry into other languages. This includes the translation of literature from ancient languages and the translation of modern fiction so that it can reach a wider audience. &lt;br /&gt;
Literary translation is of huge importance. It helps to shape our understanding of the world around us in many ways.                                                     Reading Homer and Sophocles as part of a classical education in school helps to build an understanding of history, politics, philosophy and so much more. Meanwhile, reading contemporary translations provides fascinating insights into life in other cultures and other countries.                                                       In a fast-paced world so rife with misunderstanding and confusion, such efforts to share knowledge and experiences across cultural boundaries should be applauded.&lt;br /&gt;
The translation of literature differs greatly from other forms of translation. The sheer size of the texts involved in literary translation sets it apart.                Tackling a translation that runs to hundreds of thousands of words is not a task for the faint-hearted. Nor is recreating poetry in a new language, without losing the beauty and essence of the original work.&lt;br /&gt;
One of the key challenges of literary translation is the need to balance staying faithful to the original work with the need to create something unique and distinctive that will evoke the same feelings and responses as the original. This can be particularly challenging when it comes to translating poetry.&lt;br /&gt;
Poems are written with incredible attention to detail. Not only are the words and phrases important, but the number of syllables and the entire rhythm of the completed work. It’s a challenging task to complete just in one language, let alone when trying to recreate a poet’s work during a translation. Daniel Hahn, director of the British Centre for Literary Translation, sums up the issue beautifully. &lt;br /&gt;
As literary translators will attest, a single word can be extremely troublesome. The author of a work of fiction has chosen that word for a good reason, so the translator must ensure that it is faithfully delivered in the target language. However, what if no direct translation is available? Or what if several options exist, each with a slightly different nuance? Urdu language translator Fahmida Riaz outlines her approach to such thorny issues.&lt;br /&gt;
For instance, “Every piece you translate comes from the pen of an individual, so you have to give it an individual treatment. I try to retain the ambience of the original culture, rather than the language, as it is reflected in the text.” &lt;br /&gt;
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Pragmatic translation&lt;br /&gt;
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Pragmatic translation is the basic assumption that provided a source language text contains no misstatements of fact, is competently written and has to be fully translated rather than summarized or functionally reorientated; one's purpose in translating it is to be referentially and pragmatically accurate. In this paper, I shall not deal with referential accuracy but concentrate instead on the pragmatic aspects of translation. As the term pragmatic translation may be used in a variety of ways, I should like to state my own definition of pragmatic, which derives from Charles Morris and ultimately from Charles S. Peirce. I am using pragmatic as one of the two factors in translation: pragmatic denotes the reader's or readership's reception of the translation, as opposed to referential, which denotes the relationship between the translation and the extra-linguistic reality it describes. &lt;br /&gt;
Translation is a properly way to a properly communication and pragmatics is how to use language in communication properly. By translation, many things from different languages and cultures can understand to each other. In other words, translation can be stated as a facilitator to make a communication runs well.&lt;br /&gt;
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===An Overview on Translation Studies  ===&lt;br /&gt;
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===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
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=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
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===Conclusion ===&lt;br /&gt;
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=== References ===&lt;br /&gt;
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= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Manto, Urdu Literature  --[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:45, 12 December 2021 (UTC)&lt;br /&gt;
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===Introduction ===&lt;br /&gt;
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In this chapter, the researcher wants to highlight the different concepts about the fundamental question &amp;quot;what is idiomatic expression&amp;quot; of different critics, theorists and linguistic experts, and prominent scholars of translation studies. Among them are Lindalorri, Mona Baker, Newmark's, and many more define idioms from their point of view. Secondly, the researcher highlights one of the most prominent literary and short stories writers of the sub-continent Sadat Hassan Manto, his life, literary style, and short stories career. In the last statement of the problem, the objective of the research, which type of strategies was followed in the translation process, purposes of study, and delimitation of studies are explained one by one. &lt;br /&gt;
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Many critics, theorists, and linguists define idioms differently. However, in general, an idiom is a phrase or expression that typically has a metaphorical, non-literal meaning connected to it. However, phrases can become figurative idioms while keeping the literal meaning of the words. However, according to the Oxford Dictionary of English, a set of words is established by usage as having a meaning not deducible from the meanings of the constituent terms (e.g., over the moon, see the light).&lt;br /&gt;
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&amp;quot;What is particularly remarkable about idioms is that they can be described in a variety of ways, depending on the roles they fulfilled,&amp;quot; writes (Linda Corelli 2006, 8). &amp;quot;A string of words whose meaning differs from the meaning supplied by the individual words&amp;quot; is what an idiom is, according to (Larson 1984, 20). Idioms are &amp;quot;at the end of the scale from collocations in one or both of the areas: flexibility of patterning and transparency of meaning,&amp;quot; according to (Baker 1992, 23). Idioms are defined by (Yagihashi 2003, 22) as a &amp;quot;collection of words whose meaning cannot be guessed from their meaning.&amp;quot;. According to (Newmark 1981, 11), “Idioms are word groups whose meaning cannot be deduced from the meaning of individual words.”&lt;br /&gt;
.	The whole meaning of each word that makes up an idiom cannot be considered the idiom's overall meaning. As a result, an idiom should not be translated.  To remark that someone is bull-headed, for example, suggests that he or she is obstinate, even though the connotation has nothing to do with the words bull or headed.  According to (Corelli 2006, 53), English has a sizeable idiomatic base.&lt;br /&gt;
About 4,000 idioms in American English are drawn from the nation's culture and everyday life. Idioms infect English with a peculiar flavor and offer it remarkable diversity, brilliant character, and color. She also feels that idiomatic expressions not only assist language learners in understanding English culture but also penetrating English people's traditions and lifestyles and gaining a deeper understanding of English history.&lt;br /&gt;
The main issue that idiomatic and fixed expressions pose for translators, according to (Baker 1992, 65), is twofold: &amp;quot;the ability to recognize and interpret an idiom correctly; and the difficulties involved in rendering the various aspects of meaning that an idiom or a fixed expression conveys into the target language. The first challenge that a translator encounters is understanding that she/he is dealing with an idiomatic expression.&lt;br /&gt;
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Sadat Husain Manto's writings also include numerous literary criticism, studies in Urdu, and many translations from Urdu into English. He is credited with having brought Urdu language and literature into the mainstream of contemporary international writing. There is no doubt that Sadat Hassan Manto was the most prolific of all modern writers in the sub-continent. Manto's published a substantial number of short stories during his short literary life span, and novelette gave some master piece work to Urdu literature. The noble laureate Hemingway mentions the lunatic life of great Manto's in his speeches. The current research study aims at discovering and determining the strategies used in translations of &amp;quot;khol do&amp;quot; short stories about sexual violence during partition of sub-continent and &amp;quot;license&amp;quot; a short story which throw light on the behavior of society toward widow his profession which lead toward prostitution by Aatesh Taseer an Indian born translator currently living in London having solid links with native country and culture.&lt;br /&gt;
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===Literature Review ===&lt;br /&gt;
In this chapter, the author/researcher defines the strategy and its different definitions from the perspective of different subjects and fields. However, the sole focus is only on the strategy of translation studies. Furthermore, renowned academicians put forward their definition of strategy like Venutti quoted translation strategy as the theory of de construction-sim, which is progressive and future-oriented. Krings defines it as the content of the project, while Seguinet divided the term into three steps. However, Locher defines it as the procedure of solving a problem faced in translating a text. Jaskelaine involves the primary task of choosing the SL text and developed a method to translate it. In last, the author points out his research work's sole purpose by mentioning different research work on Mento's short stories except for this angle. &lt;br /&gt;
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The term &amp;quot;strategy&amp;quot; is used in a variety of settings. Many theorists in translation studies have used the phrase &amp;quot;translation methods&amp;quot; interchangeably, although with significant distinctions in meaning and perspective. The following is a collection of more general definitions of the term strategy. A strategy is a long-term set of actions to achieve a specific goal (Wikipedia Committee, n. d.).A methodical plan for improving one's learning performance has been actively altered and mentioned (Instruction Curriculum Reading Glossary, n. d.) &lt;br /&gt;
A strategy is a well-thought-out, intentional, goal-oriented (with a measurable outcome) approach carried out through a series of actions that can be monitored and modified (Curriculum Learning Literate-Futures Glossary, n. d.)&lt;br /&gt;
A collection of particular mental and behavioral procedures is taken to reach a given result.  These definitions are general and can be related to different fields of study. This study mainly concerns translation strategies, although the definitions mentioned above can be narrowed down to this research field, as well. Translation strategies have their characteristics, through which one can gain a proper understanding of them. In general, a translator employs a strategy when confronted with a challenge while translating a text; nevertheless, translation methods are not required when translating a text literally. Bergen points out that strategies are not always obvious or straightforward.&lt;br /&gt;
Although beginners in the field of translation believe they have done a successful translation when they translate word for word and utilize a dictionary, they do not realize that there is still a problem and that adjustments must be made at various levels of the translation. As a result, the most critical purpose of the strategies is to solve problems. &amp;quot;Venuti attempted to put deconstructionist translation theory into practice by proposing the &amp;quot;resistant translation&amp;quot; technique as an alternative to the standard &amp;quot;smooth translation. This technique tries to reverse the colonial concept of translation, English-American culture centralism, and the value of imperialist culture from an ideological standpoint.&lt;br /&gt;
It aims to retain &amp;quot;foreignness&amp;quot; rather than seeking similarity in translation principles and methods. The author believes Venuti's translation strategy is quite progressive and future-oriented, with the development of international communications on an equal footing. However, it will take time to implement fully.&amp;quot; (Jianzhong. .Krings 1986, 18) defines translation strategy as &amp;quot;a translator's potentially deliberate objectives for solving concrete translation problems specific translation task in the context of a project.&amp;quot;The translators adopted three global tactics, according to (Seguinot 1989, 27) (i) translating uninterrupted for as long as possible; (ii) resolving surface flaws as soon as possible; (iii) leaving text quality and stylistic problems to the editing stage.&lt;br /&gt;
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Furthermore, (Loescher 1991, 8) defines translation strategy as &amp;quot;a possibly conscious technique for overcoming a difficulty encountered in translating a text, or any segment thereof.&amp;quot; As stated in this definition, consciousness is vital in distinguishing strategies employed by learners and translators. &amp;quot;The element of consciousness is what distinguishes strategies from these activities that are not strategic,&amp;quot; (Cohen 1998, 4) claim moreover, (Bell 1998, 188) distinguishes between global (whole-text) and local (text segment) techniques and indicates that this distinction is the outcome of several types of translation challenges.&lt;br /&gt;
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According to (Venuti 1998, 240), &amp;quot;involve the core tasks of picking the foreign text to be translated and establishing a way to translate it.&amp;quot; He uses the terms &amp;quot;domesticating&amp;quot; and &amp;quot;foreignizing&amp;quot; to describe them. Ordudari, considering the process and outcome of translation, Jaaskelainen divides methods into two primary categories: some strategies deal with what happens to texts, while others deal with what happens during the translation process. According to (Jaaskelainen 2005, 15), product-related strategies entail the essential tasks of selecting the SL content and establishing a technique for translating it. On the other hand, process-related strategies are &amp;quot;a set of (loosely articulated) rules or principles that a translator applies to attain the goals determined by the translating scenario.&lt;br /&gt;
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Furthermore, (Jaaskelainen 2005, 16) distinguishes between global and local strategies, stating that &amp;quot;global strategies refer to general principles and modes of action, while local strategies refer to specific activities concerning the translator's problem-solving and decision-making. (Newmark 1988, 221) distinguishes between translation methods and translation procedures. (Newmark 1988, 81) also distinguishes between translation techniques and procedures, writing, &amp;quot;While translation methods are employed for full texts, translation procedures are utilized for sentences and smaller units of language.&amp;quot;&lt;br /&gt;
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Apart from other literature like poetry, drams and other subcultures also produce literary genius in short stories.  Monto is one of them. His literature is translated into different languages with a different theme in his work. Apart from the story of division, Manto's books are characterized by powerful female characters. Manto combines the physical brutality of division with the intellectual cruelty that sex and sexuality face inside the Indio Pak subcontinent's social framework (Ranjan 2004, 3). Manto's female characters, according to Ispahani, are characterized by their sexual fragilities, such as sexual humiliation, rape, and prostitution. &amp;quot;They are nearly always victims, with the power only to cause their destruction,&amp;quot; she believes.  Sakina's body movement reveals how severely she was sexually raped. Sakina's silence and pain depict the savagery of her rape to the point where they lost their ability to communicate. Manto's short stories present another perspective on trauma through the absence of the subject converses (Mehta 2018, 9). Bingo by Tariq Rahman explores sexual repression, social injustice, and war tragedies. Wartime rape has existed since the beginning of conflicts, and penetrators consider it one of their weapons of war (Isikozlu, 2016, 13).&lt;br /&gt;
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The concept of hegemonic binary was introduced by the second wave of feminism, which depicts patriarchal conduct as sexually superior and powerful. At the same time, women are sexually inferior and submissive argue (Marinucci, 2010, 15). Sexual trauma serves as a link between the victim and society; it ruins the victim's sense of safety, leads to low self-esteem, and silences them called by (Lewis 2017, 54). Saadat Hasan Manto (1912-1955) was one of the most well-known, controversial, and provocative Urdu writers of the twentieth century. Despite being a prolific writer of essays, plays, film scripts, and novels, he was best known for his short tales. Born in Punjab, he began his writing career in Bombay before moving to Lahore, Pakistan, in January 1948, a few months after partition (Hasan 1984). Following that, his stories generally centered on a partition, exploring its human effects from various perspectives.&lt;br /&gt;
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Manto's works are notable for their realism, word economy, dependence on internal components, and, most notably, their abrupt, often distressingly unclear ends (Akhtar and Flemming 1985, 9). While Tariq Rahman wrote Bingo, he is a writer, playwright, and critic who has made significant contributions to Urdu literature through his writing. Research work was carried out on the comparison of &amp;quot;bingo&amp;quot; and &amp;quot;khol do.&amp;quot;&lt;br /&gt;
The purpose of this thesis is to compare the two short stories Khol Do and Bingo, both of which focus on women and violence, particularly wartime rape, which makes women more vulnerable than ever before. This paper explores how women are victims of war and partition, making them doubly marginalize primarily due to the hegemonic binaries of men and women. Both of the stories aim to reflect the stigmata of our society regarding the violence and cruel treatment of women since their existence. Furthermore, via the lenses of feminism and post-colonialism, it examines how varied wartime weapons can be for both gender binaries. The writers' audacity causes us to reflect on the inhumane treatment of women in everyday life and even in wartime when they are with the men who are supposed to defend the female.&lt;br /&gt;
Several research articles are found on translated work (license and khol do) of Urdu famous short stories writer Sadat Hassan Manto's from a different perspective like psychoanalysis, postcolonial, feminist approaches but to explore the problem of translations strategies face by translator Aatish Taseer during the process of translation has not been mention till date. To summarize this, the research includes a critical, in-depth, comprehensive analysis of issues that previously did not address.&lt;br /&gt;
&lt;br /&gt;
=== Theoritical Framework ===&lt;br /&gt;
&lt;br /&gt;
Different strategies have been used, like using an idiom of similar meaning and similar form, the idiom of similar meaning and different form, translation by Paraphrasing, translation by omission. The approach of employing idioms of similar meaning and form, according to Mona Baker, entails using an idiom in the target language that can express about the same meaning as the source language idiom, as well as having lexical similarity. On the other hand, this type of matching happens periodically as well as regularly.&lt;br /&gt;
&lt;br /&gt;
Similarly, employing idioms with similar meanings but different forms means that it is possible to locate an idiom or fixed expression in the target text language that has a similar meaning to the source idiom or expression but is made up of distinct lexical elements. Consider the case of English and French, both of which use the idiom mentioned above. In English, one good deed is rewarded with another, whereas in French, handsome deeds are rewarded with handsome deeds.&lt;br /&gt;
&lt;br /&gt;
Furthermore, we did not come across any idioms in the category mentioned above during translating idioms. To deal with this issue, the translators used the most popular approach, known as a translation by paraphrase, which is short, straightforward, and time-saving. When a match cannot be identified in the target language or when it appears improper to employ idiomatic language in target material due to aesthetic differences between the source and target languages, this is the most typical approach for translating an idiom from source to target language. However, one thing to keep in mind is that a perfect translation is not required is necessary or possible.&lt;br /&gt;
&lt;br /&gt;
Last but not least, to overcome the problem of idiom translation, the translator employs the strategy of translation by omission. This can be defined as an idiom being omitted entirely in the target text with a single word. This is done because the idiom has no close match in the target language; its meaning cannot be easily paraphrased or due to stylistic reasons. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Data analysis Techniques:&lt;br /&gt;
Textual analysis is the method of data analysis in qualitative research that brings forth the hidden and potent message, structure, and function of research in giving text, Alan Mckee (defines textual analysis as whenever we perform textual analysis on the text, we make an educated guess at some time of the most likely interpretations that might be made of that text (Alan Mckee 2001, 3)&lt;br /&gt;
Analysis of the translation of short stories in light of Mona baker's theory &amp;quot;khol do and license&amp;quot; are short stories written by Sadat Hassan Manto and translated by many translators from Urdu into English. During translation, the translator adopted many strategies for translating idiomatic expression, sometimes by Paraphrasing, sometimes by omission, sometimes using similar idioms of form and meaning while sometimes using different words and the same form, the whole.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:51, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
The chapter analyzes and discusses all the data collected by the author/researcher from different sources. All the examples of idioms are first identified, then translated into the target text, and back-translated for the sole purpose of exploring the strategies being used by the translator. A separate section is given to every strategy with its related example. Moreover, the idiomatic expression, the target work for finding, is highlighted through the bold letter.&lt;br /&gt;
&lt;br /&gt;
4.1	Translation by Paraphrasing:&lt;br /&gt;
&lt;br /&gt;
Based on our findings, the most often used strategy was &amp;quot;translation by paraphrasing.&amp;quot; An inspection also reveals that Aatish Taseer preferred this strategy. Here are some examples applied by the translators, and in the following section, the logic behind their preference towards this strategy is elaborate. The following are examples from two short stories of Sadat Husain Manto's &amp;quot;khol do&amp;quot; and &amp;quot;license.&amp;quot;&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Sirajuddin ne subah das baji anki kholi to logo ka ail mutalatam samandar deka.&lt;br /&gt;
&lt;br /&gt;
TT: Ten a.m., Siraj Uddin opens his eyes on the cold floor of the camp, seeing the swelling sea of men.&lt;br /&gt;
&lt;br /&gt;
BT: sub ke das baji jab Sirajuddin ne apni anki koli to logo ka aik ublaha howa samandar ka nizara dekni laga.&lt;br /&gt;
&lt;br /&gt;
So, the above idioms are literal idioms being translated with the help of Paraphrasing because there is no perfect equivalent of mutalatam words in English languages. A similar look at another idiom from short stories &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: Khuda tomahra bala kari.&lt;br /&gt;
&lt;br /&gt;
TT: Your God will reward&lt;br /&gt;
&lt;br /&gt;
BT: Is ka badla khoda tomahi di.&lt;br /&gt;
&lt;br /&gt;
Here, the word reward is being used for Bala Kari, an example of transitional by Paraphrasing.&lt;br /&gt;
Let  take another example from &amp;quot;khol do.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: unkho nai Jan khateli pa rak kar sakena ko donda.&lt;br /&gt;
&lt;br /&gt;
TT: even putting their lives online, they search sakina &lt;br /&gt;
&lt;br /&gt;
BT: apni zindagio ko khatri me dal kar unkho nai sakina ko dond nekala.&lt;br /&gt;
&lt;br /&gt;
The above idioms are examples of pure idiom translated from Urdu into English with the help of paraphrases strategies. However, under the same strategies, the idioms of another short story of Manto,s &amp;quot;license,&amp;quot; are translated by Aatish Taseer. Some of the examples are given below.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
ST: Abu kochwan bara cheel jabela ta. It is the binomial type of idioms taken from the first sentence of the short story &amp;quot;license&amp;quot; by Sadat &lt;br /&gt;
Hasan Manto &lt;br /&gt;
&lt;br /&gt;
TT: Abu kochwan is stylish man.&lt;br /&gt;
&lt;br /&gt;
BT: Abu kochwan aik wazahdar admi ta.&lt;br /&gt;
&lt;br /&gt;
From the above idiom, it is clear that there is no perfect equivalence of cheela chabela idiom in English; that is, the translator goes &lt;br /&gt;
through paraphrasing strategies. Look at another example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: Lein har waqat bank bani rekhi ka usi be had showk ta&lt;br /&gt;
&lt;br /&gt;
TT: He had a weakness for style and fashion.&lt;br /&gt;
&lt;br /&gt;
BT: Dan saj ke rekhna uski kamzori me sai ik ta.&lt;br /&gt;
&lt;br /&gt;
So all of the above examples, which are analyzed one by one, are examples of idioms being translated through paraphrasing strategies. (De Beaugrande and Dressler 1981, 50) define paraphrases as &amp;quot;approximate conceptual equivalence among outwardly different material.&amp;quot; Similarly, in this regard, Hirst defines paraphrases as &amp;quot;talk(ing) about the same situation in a different way.&amp;quot; Munday declared that &amp;quot;equivalence is particularly useful in translating idioms and proverbs” For instance, if the English idiom like a bear with a sore head is rendered into Persian as (mesle borje zahremar), meaning like a tower of snake venom, the strategy of equivalence has been applied. &lt;br /&gt;
&lt;br /&gt;
According to Leonardi, &amp;quot;Equivalence can be said to be the central issue in translation.&amp;quot; In this regard, house believes that &amp;quot;a translation text should match not only its source text in function but also employ equivalent situational-dimensional means to achieve that function&amp;quot; (Baker 2002, 49).  who shares this approach, states that equivalence is used &amp;quot;for the sake of convenience—because most translators are used to it rather than because it has any theoretical status&amp;quot; (Kenny 1998, 77). &lt;br /&gt;
&lt;br /&gt;
Despite different attitudes to the concept of equivalence, most specialists pay much attention to its meaning in the theory of translation. The translation is a form of communication, and that is why it is vital to establish equivalence between the source text and the target text. Although Vinay and Darbelnet believe that equivalence is used differently than in modern translation theory, it is evident that equivalence is one of the basic concepts of translation that cannot be neglected. Consequently, based on the Above mentioned studies using Paraphrasing in translation stands as the core concept in the process of translation, and still, most of the translators cling to it for producing a more comprehensible and explicable text. These language ideas and translation models are ideal constructs, presented abstractly in order to be differentiated precisely. They may exist in an uneasy combination in actual theories and practices, resulting in logical tensions or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation. Theories and actions must be contextualized in historical settings. They've been utilized as analytical tools to describe various topics in section introductions. Theoretical writings and current events these language notions and translation models are ideal constructs expressed in an abstract manner in order to be distinguished precisely in real-life hypotheses they may exist in an uncomfortable mix, resulting in logical conflicts or inconsistencies. They must first contribute to any explanation or interrogation of the situation before they can contribute to any explanation or interrogation of the situation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
4.2	Using an idiom of Similar Meaning and Form &lt;br /&gt;
&lt;br /&gt;
As mentioned earlier, this strategy type is being used by Aatish Taseer during their translated work of Manto's short stories &amp;quot;khol do&amp;quot; and&amp;quot; license&amp;quot; on an occasional basis. Some examples are mention below.&lt;br /&gt;
&lt;br /&gt;
From khol do.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: Larki ka rang zard hogaya.&lt;br /&gt;
&lt;br /&gt;
TT: The girl's face became fail&lt;br /&gt;
&lt;br /&gt;
BT: larki ka rang zar hogya.&lt;br /&gt;
&lt;br /&gt;
Similarly, another example from the license is&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: Abu our us ke mat beer hogaie&lt;br /&gt;
&lt;br /&gt;
TT: They fall in love with each other.&lt;br /&gt;
&lt;br /&gt;
BT: WO ik dosri ke mokhbat me geriftar hogaie&lt;br /&gt;
&lt;br /&gt;
The above idioms are pure ones and are being translated with the help of similar meanings and similar forms.&lt;br /&gt;
&lt;br /&gt;
The procedures: transposition, modulation, equivalence, and adaptation, and when it comes to defining the term Equivalence, (Vinay and Darbelnet 2000, 90) propose that it consists in rendering &amp;quot;the same situation … by two texts using completely different stylistic and structural methods&amp;quot;, and when it comes to translating idiomatic expressions like &amp;quot;Il pleut à seaux&amp;quot; it can be translated as &amp;quot;It is raining cats and dogs&amp;quot; using the idiom of similar form and meaning in the target language.&lt;br /&gt;
&lt;br /&gt;
As (Baker 1992, 12) states, this strategy involves using an idiom in the TL which conveys roughly the same meaning as that of the source language idiom and, in addition, consists of identical lexical items. The salient point is that this kind of match can only occasionally be achieved, which cannot be picked up more often by translators. Accordingly, both translators mentioned in the current study had quite a slim chance of using this strategy type. &lt;br /&gt;
&lt;br /&gt;
4.3 Using an idiom of similar meaning but different form:&lt;br /&gt;
&lt;br /&gt;
During translating Manto short stories, &amp;quot;khol do&amp;quot; and &amp;quot;license,&amp;quot; some of the idioms are translated with the help of this strategy. Some of the examples are given below from two different short stories.&lt;br /&gt;
&lt;br /&gt;
Example number one is from the short story &amp;quot;khol do&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: Aur bolwai gos ayai thee?&lt;br /&gt;
&lt;br /&gt;
TT: The roitors come abroad.&lt;br /&gt;
&lt;br /&gt;
BT: pasadi bahar agai hai.&lt;br /&gt;
&lt;br /&gt;
The above idiom is a pure type of idiom being translated with the help of above mention strategy. The word rioter is being used for bolwai, which is not a perfect word for bolwai. In Urdu bolwai, people believe in violence when minorities or the low population of any country want some rights. These people stop them by using violence, burn down their properties, rapes women, and do things like that. Another example from the license is below.&lt;br /&gt;
&lt;br /&gt;
Example 9:&lt;br /&gt;
&lt;br /&gt;
ST: Dosri kotwal abu ko dek kar jal ban ho jati.&lt;br /&gt;
&lt;br /&gt;
TT: The other coachman burn with envy.&lt;br /&gt;
&lt;br /&gt;
BT: Abu ke kamyabi dek kar aur kotwal abu sai khasad karni lagi’&lt;br /&gt;
&lt;br /&gt;
The above idioms are a pure idiom that reflects the effect of jealousy between competitors to achieve equivalency. Aatish Taseer uses envy word for jal ban instead of other which have similar meaning but different form. Look at the other example from &amp;quot;license.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: Dino lat vo lagal se kam karni laga.&lt;br /&gt;
&lt;br /&gt;
TT: Dino came with an excuse.&lt;br /&gt;
&lt;br /&gt;
BT: Dino abb bahi tarashni laga.&lt;br /&gt;
	&lt;br /&gt;
The above idioms are types of binomial idioms translated with the help of idioms with similar meanings and different forms. (Newmark 1988, 81) mentions the difference between translation methods and translation procedures. He writes that &amp;quot;[w]hile translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language&amp;quot; (Newmark 1988, 81). Idiomatic translation in his definition reproduces the 'message' of the original. However, it distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original, leading to using an idiom of similar meaning but a different form. Besides, it is often possible to find an idiom or fixed expression in the target language with a meaning similar to that of the source idiom or expression but which consists of different lexical items (Baker 1992, 12). Therefore, translators discover idiomatic expressions in the target language with different forms than in the source language. In the current study, the translators approached this strategy merely for 9% of the total times, which means the frequency of Iranian and English idioms with the same meaning and different forms is not considered high. &lt;br /&gt;
&lt;br /&gt;
4.4 Translation by omission:&lt;br /&gt;
&lt;br /&gt;
A translator is less using these strategies, and we did not find any clue on this type of strategy in an area under consideration.&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 09:48, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
(Mandelbit 1995) believed that idioms with different cognitive mapping in the target language would be more challenging to translate. After conducting study and data analysis of collected data, the result revealed that the translator frequently used three out of four strategies of the Mona Baker model during the translation process, which is a translation by Paraphrasing, translation by similar meaning and similar form, translation by similar meaning and different form. In contrast, translation by omission does not found in his work.&lt;br /&gt;
After detail and careful analysis of data, more than half of idioms like &amp;quot;swelling sea of man,” my lord break his arrogance, “weakness for style and fashion.&amp;quot; As I mentioned earlier, many more are translated under the umbrella of Paraphrasing, which is considered the most common method used for translating idioms.&lt;br /&gt;
&lt;br /&gt;
Similarly, we also reflect strategies like similar meaning and different form and similar meaning and similar form. The idiom &amp;quot;rioter came abroad,” burn with envy,” The girl's face became pale, &amp;quot; They fall in love with each other&amp;quot; are translated with the help of two mention strategies, respectively.&lt;br /&gt;
&lt;br /&gt;
Although translation by omission is a strategy used on rare occasions because of its meaning, its meaning cannot be easily paraphrased or stylistic reason. Here, the researcher also did not find any idiom translated with the help of the omission strategy.&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
Go through detailed discussion and analysis of data collected from my source. We finally concluded that the idioms present in two short stories, &amp;quot;khol do&amp;quot; and &amp;quot;License,&amp;quot; are translated under the frame of Mona Baker's idiomatic model. Translation by Paraphrasing is mainly used while idioms of similar meaning and form and idioms of similar meaning and different forms are used occasionally. The researcher discusses all the strategies with related examples in the order of maximum used to minimum used. The strategy by omission did not find it works. All the data are collected from different sources and analyzed with the help of different researcher tools, and the result is written in light of the finding. Different from previous studies, the writer presents the strategies to translate idioms by each type of idiomatic expression found in the story. From the result, it is considered the translation of idiomatic expressions in the story is quite accurate. As the number of accurate data is more the data which is not related to the translation. We take conclusion from the translation through idiomatic expression and paraphrasing is the best way to translate a novel or a story however it is very difficult job to do because it needs more accurate and precise knowledge about the source language and an inspiring method to express ideas in the target language. However, translation is thing through which we can connect the world with each other and also we can study and observe diverse cultures.            &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abu-Saydeh, A. F. (2004). Translation of English idioms into Arabic. Babel, 114-131.&lt;br /&gt;
&lt;br /&gt;
Ahsan, S. (2020). A comparative study of two translations of manto's short story &amp;quot;Toba Tek&amp;quot;. International Journal of English Language Studies, 12-27.&lt;br /&gt;
&lt;br /&gt;
Alexander, R. J. (1987). Mimeograph. In R. J. Alexander (Ed.) Collocation and Culture. Trier: University of Trier, West Germany.&lt;br /&gt;
&lt;br /&gt;
Al-Qinai, J. (2000). Translation quality assessment. strategies, parameters and procedures. Translator's Journal, 497-519.&lt;br /&gt;
&lt;br /&gt;
Bayashi, J. (2020). Japanese-English translation: An advanced guide. Oxfordshire: Routledge.&lt;br /&gt;
&lt;br /&gt;
Das, V. &amp;amp;. (1995). Critical events: An anthropological perspective on contemporary India. New Delhi: Oxford Printing Press.&lt;br /&gt;
&lt;br /&gt;
Mufti, A. (2007). The Language of English India. In I. &amp;amp;. End (Ed.) Enlightenment in the Colony. Princeton University Press.&lt;br /&gt;
&lt;br /&gt;
Waka Xia, L. (2019). A discourse analysis of news translation in China. Syydney: Routledge.&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;br /&gt;
&lt;br /&gt;
=刘胜楠 A Case Study of ''Ne Zha'' on Subtitle Translation Strategies from the Perspective of Skopos Theory= &lt;br /&gt;
[[Trans_Type_EN_15]]&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
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		<title>20211215 homework</title>
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		<updated>2021-12-11T08:19:06Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。 &lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three girls were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，学名叫做王熙凤。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
泪光点点，娇喘微微。&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=130824</id>
		<title>Trans Type EN 7</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=130824"/>
		<updated>2021-12-10T07:04:12Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Reference */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianan, Hunan University, China&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
&lt;br /&gt;
The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
&lt;br /&gt;
On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
&lt;br /&gt;
Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
&lt;br /&gt;
==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
&lt;br /&gt;
===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
&lt;br /&gt;
4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
&lt;br /&gt;
5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
&lt;br /&gt;
6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
&lt;br /&gt;
=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
&lt;br /&gt;
Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=130823</id>
		<title>Translation types, strategies, styles, methods</title>
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
&lt;br /&gt;
===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
&lt;br /&gt;
===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
&lt;br /&gt;
Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
&lt;br /&gt;
==Case Study==&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
&lt;br /&gt;
American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
&lt;br /&gt;
For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：一片冰心在玉壶&lt;br /&gt;
&lt;br /&gt;
American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
&lt;br /&gt;
“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
&lt;br /&gt;
The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
&lt;br /&gt;
Chinese version：“赏你一丈红”&lt;br /&gt;
&lt;br /&gt;
American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
&lt;br /&gt;
In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
&lt;br /&gt;
In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
&lt;br /&gt;
In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
&lt;br /&gt;
====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
&lt;br /&gt;
In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
&lt;br /&gt;
莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
&lt;br /&gt;
夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
&lt;br /&gt;
敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
&lt;br /&gt;
Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
&lt;br /&gt;
However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
&lt;br /&gt;
Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
&lt;br /&gt;
The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
&lt;br /&gt;
====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
&lt;br /&gt;
American version: “The clothing completes the person.”&lt;br /&gt;
&lt;br /&gt;
This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
&lt;br /&gt;
American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
&lt;br /&gt;
There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
&lt;br /&gt;
American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
&lt;br /&gt;
In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
&lt;br /&gt;
Example 2&lt;br /&gt;
&lt;br /&gt;
Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
&lt;br /&gt;
American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
&lt;br /&gt;
In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
&lt;br /&gt;
As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
&lt;br /&gt;
[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
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Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
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In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
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Example 13:&lt;br /&gt;
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ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
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TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
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Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
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In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
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Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
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====Limitations====&lt;br /&gt;
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Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
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Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
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[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
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[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
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[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
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[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
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[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
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[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
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[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
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Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
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&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
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Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
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'''Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
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Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
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The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
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Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
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The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
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===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
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'''Interpretation method'''&lt;br /&gt;
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Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
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Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
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The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
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Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
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Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
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'''demolition syntax'''&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
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However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
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Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
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The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
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'''Cotranslation'''&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
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Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
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Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
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===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
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'''Addition'''&lt;br /&gt;
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Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
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Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
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&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
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'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
[3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)&lt;br /&gt;
&lt;br /&gt;
[6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.&lt;br /&gt;
&lt;br /&gt;
[10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.&lt;br /&gt;
&lt;br /&gt;
[11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.&lt;br /&gt;
&lt;br /&gt;
[12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
&lt;br /&gt;
With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
&lt;br /&gt;
At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
&lt;br /&gt;
The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
====Limitations and Suggestions====&lt;br /&gt;
&lt;br /&gt;
There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
&lt;br /&gt;
[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
&lt;br /&gt;
[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
&lt;br /&gt;
[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
&lt;br /&gt;
[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
&lt;br /&gt;
===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
&lt;br /&gt;
By Robert Lynd&lt;br /&gt;
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It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
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When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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[[Trans_Type_EN_6]]&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
&lt;br /&gt;
The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅Lu Xun.鲁迅全集(第一卷)Selected Work of Lu Xun(volume Ⅰ）[M].北京Beijing:人民文学出版社People's Literature Publishing House ,1982.&lt;br /&gt;
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[5]谭载喜Tan Zaixi．新编奈达论翻译New Nida's Translation[M]．北京Beijing：中国对外翻译出版公司China Translation &amp;amp; Publishing Corporation，1999.&lt;br /&gt;
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[6]杨坚定Yang Jianding，孙鸿仁Sun Hongren．鲁迅小说英译版本综述A Summary of the English Versions of Lu Xun's Novels[J]．鲁迅研究月刊Lu Xun Research Monthly，2021(4)．&lt;br /&gt;
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[7]伊塞尔Iser.本文中的读者 Readers in this article[A]．二十世纪西方美学名著选（下）Selected Works of Western Aesthetics in the Twentieth Century (Part 2)[C]．上海Shanghai：复旦大学出版社Fudan University press,1998.&lt;br /&gt;
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[8]杨宪益.Yang Xianyi,戴乃迭 Dai Naidie译.鲁迅选集英文版(一) Selected Works of Lu Xun (1)[M].北京:外文出版社 Beijing: Foreign Languages Press,1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
&lt;br /&gt;
=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
&lt;br /&gt;
======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
&lt;br /&gt;
======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
&lt;br /&gt;
Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
&lt;br /&gt;
====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
&lt;br /&gt;
=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
&lt;br /&gt;
===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
&lt;br /&gt;
====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tiger! Tiger! Burning bright&lt;br /&gt;
&lt;br /&gt;
In the forests of the night,&lt;br /&gt;
&lt;br /&gt;
What immortal hand or eye&lt;br /&gt;
&lt;br /&gt;
Could frame thy fearful symmetry?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
&lt;br /&gt;
烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
&lt;br /&gt;
什么样|非凡的|手和|眼睛&lt;br /&gt;
&lt;br /&gt;
能塑造|你一身|惊人的|匀称？&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
&lt;br /&gt;
The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
&lt;br /&gt;
====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
A slumber did my spirit seal&lt;br /&gt;
&lt;br /&gt;
I had no human fears&lt;br /&gt;
&lt;br /&gt;
She seemed a thing that could not feel&lt;br /&gt;
&lt;br /&gt;
The touch of earthly years &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
No motion has she now, no force&lt;br /&gt;
&lt;br /&gt;
She neither hears nor sees&lt;br /&gt;
&lt;br /&gt;
Rolled round in earth's diurnal course&lt;br /&gt;
&lt;br /&gt;
With rocks, and stones, and trees.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
迷糊|封住了|我的|精神；&lt;br /&gt;
&lt;br /&gt;
我没有|人世的|忧惶：&lt;br /&gt;
&lt;br /&gt;
她似乎|超然|物外，|不可能&lt;br /&gt;
&lt;br /&gt;
感觉到|岁月的|影响。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
现在|她无力了，|也不能|动弹；&lt;br /&gt;
&lt;br /&gt;
她不再|耳闻|目睹；&lt;br /&gt;
&lt;br /&gt;
卷在|地球的|日程里|滚转，&lt;br /&gt;
&lt;br /&gt;
混同了|岩石、|树木。&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
&lt;br /&gt;
====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Men of England, wherefore plough&lt;br /&gt;
&lt;br /&gt;
For the lords who lay ye low?&lt;br /&gt;
&lt;br /&gt;
Wherefore weave with toil and care&lt;br /&gt;
&lt;br /&gt;
The rich robes your tyrants wear?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Wherefore feed and clothe and save&lt;br /&gt;
&lt;br /&gt;
From the cradle to the grave&lt;br /&gt;
&lt;br /&gt;
Those ungrateful drones who would&lt;br /&gt;
&lt;br /&gt;
Drain your sweat——nay, drink your blood?&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Bian Zhilin's Translation:'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
英国的|人民，|为什么|犁地&lt;br /&gt;
&lt;br /&gt;
报答|老爷们|踩你们|成泥？&lt;br /&gt;
&lt;br /&gt;
为什么|辛勤|劳苦|去织布，&lt;br /&gt;
&lt;br /&gt;
让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
为什么|你们|从摇篮|到坟冢&lt;br /&gt;
&lt;br /&gt;
尽供给|和保养|那许多|雄峰？&lt;br /&gt;
&lt;br /&gt;
他们|不感激，|还非常|坚决，&lt;br /&gt;
&lt;br /&gt;
要喝干|你们的汗|——再加|血；&lt;br /&gt;
&lt;br /&gt;
(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
&lt;br /&gt;
Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
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Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
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Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
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The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
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This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
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===Translation and Culture===&lt;br /&gt;
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2. Translation and Culture &lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
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In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
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 2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
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 The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
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===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
        Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
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3.1 Word-for-Word Translation &lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
  In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
 This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
 This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
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4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
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4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
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4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
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4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
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4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
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4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
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4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
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4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
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4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
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4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
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===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
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5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
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5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
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5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
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Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
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2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
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3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
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4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
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5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
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6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
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7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
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8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
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9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
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10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
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11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
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12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
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13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
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14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
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15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
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16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
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17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
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18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
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19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
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20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
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21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
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22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
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23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
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24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
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25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
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26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
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27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
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28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
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29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
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30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
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31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
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32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
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33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
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34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
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35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
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36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
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37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
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38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
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39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
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40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
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41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
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42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
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43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
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44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
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45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
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46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
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47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
          This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
&lt;br /&gt;
  The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Monto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=130822</id>
		<title>Trans Type EN 7</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=130822"/>
		<updated>2021-12-10T06:52:48Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Chapter 7: A Study of Lu Xun's Short Stories Translation from the Perspective of Functional Equivalence:Taking Yang Xianyi and Gladys Yang's English Version of ''Kong I-Chi'' as a Case ==&lt;br /&gt;
'''功能对等翻译视角下的鲁迅短篇小说翻译研究-以杨、戴夫妇的《孔乙己》英译本为例'''&lt;br /&gt;
&lt;br /&gt;
秦建安 QinJianan, Hunan University, China&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
&lt;br /&gt;
The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
&lt;br /&gt;
On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
&lt;br /&gt;
Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
&lt;br /&gt;
==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
&lt;br /&gt;
===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
&lt;br /&gt;
4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
&lt;br /&gt;
5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
&lt;br /&gt;
6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
&lt;br /&gt;
=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
&lt;br /&gt;
Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
&lt;br /&gt;
Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
&lt;br /&gt;
From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
&lt;br /&gt;
==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
&lt;br /&gt;
So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
&lt;br /&gt;
This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
&lt;br /&gt;
There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
&lt;br /&gt;
In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
&lt;br /&gt;
Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
&lt;br /&gt;
==== Syntax Analysis ====&lt;br /&gt;
&lt;br /&gt;
In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
&lt;br /&gt;
In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
&lt;br /&gt;
Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
&lt;br /&gt;
When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
&lt;br /&gt;
==== Semantic Analysis ====&lt;br /&gt;
&lt;br /&gt;
How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
&lt;br /&gt;
In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
&lt;br /&gt;
Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
&lt;br /&gt;
At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
&lt;br /&gt;
In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
&lt;br /&gt;
[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
&lt;br /&gt;
[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
&lt;br /&gt;
[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
&lt;br /&gt;
[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
&lt;br /&gt;
[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
&lt;br /&gt;
[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=130820</id>
		<title>Trans Type EN 7</title>
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		<updated>2021-12-10T06:46:10Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: &lt;/p&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
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[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
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[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
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[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
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[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Trans_Type_EN_7&amp;diff=130819</id>
		<title>Trans Type EN 7</title>
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		<updated>2021-12-10T06:44:43Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: Created page with &amp;quot;Abstract Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kon...&amp;quot;&lt;/p&gt;
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&lt;div&gt;Abstract&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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Key Words&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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Introduction&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of Kong I-Chi.&lt;br /&gt;
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Research Background and Significance&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. Kong I-Chi was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets.&lt;br /&gt;
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Kong I-Chi enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which Kong I-Chi was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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Methodology&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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Literature Review&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of Kong I-Chi include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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Theoretical Framework: Nida’s Functional Equivalence Theory&lt;br /&gt;
Introduction of Functional Equivalence Theory&lt;br /&gt;
The Original of Functional Equivalence Theory&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in Toward a Science of Translating, and gave it specific definition in The Theory and Practice of Translation (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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The Development of Functional Equivalence Theory&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;Language, Culture, and Translation&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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Basics of Functional Equivalence Theory&lt;br /&gt;
Receptor’s Response&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly.&lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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Principles for Producing Functional Equivalence&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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Introduction to Lu Xun and Kong I-Chi&lt;br /&gt;
Lu Xun and the values of Kong I-Chi&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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Study on the Translation of Kong I-Chi&lt;br /&gt;
Kong I-Chi is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;Italic textNew Youth&amp;quot; in April 1919. (刘家鸣1992: 15). Kong I-Chi is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation.&lt;br /&gt;
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So far, there are eight translations of Kong I-Chi: 1)A British man E.H.F.Mills translated Con Y Ki from Jing Yinyu's French translation (Mills 1930: 42-50), included in The Tragedy of Ah Q and Other Contemporary Chinese Short Stories published by George Rutridge Bookstore in London in 1930; 2) The English translation of K’ung I-chi by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in Isaacs (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) K’ung I-chi translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of K'ung I-Chi (Anonymous 1936: 2-3); 5) K’ung I-chi was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation K'ung I-chi (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated Kong Yiji (Lyell 1990: 42-48); 8) other translation of Kong Yiji was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of Kong I-Chi from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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Analysis of the Translation of Kong I-Chi from the Perspective of Functional Equivalence&lt;br /&gt;
Lexical Analysis&lt;br /&gt;
There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic. The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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Syntax Analysis&lt;br /&gt;
In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In Kong I-Chi, when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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Semantic Analysis&lt;br /&gt;
How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes.&lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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Conclusion&lt;br /&gt;
This article selects Yang’s translation of &amp;quot;Kong I-Chi&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; Kong I-Chi &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary.&lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; Kong I-Chi &amp;quot;, the translator adopts literal translation and annotations.&lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;Kong I-Chi&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; Kong I-Chi &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;Kong I-Chi&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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Reference&lt;br /&gt;
[1]Nida E.A. Language and Culture: Contexts in translating. Shanghai: Shanghai Foreign Language Education Press.2001.&lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa Science of Translating, Leiden: E.J.Brill.&lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, The Theory and Practice of Translation, Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
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[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
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[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
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[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
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[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-10T06:43:18Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of Kong I-Chi as a Case Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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==Reference==&lt;br /&gt;
[１]Dollerup, Cay. On Subtitles in Television Programs[J]. Babel, 1974, (20): 197-202. &lt;br /&gt;
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[２]Ivstor, Fordor. Film Dubbing: Phonetic Semiotic, Esthetic and Psychological Aspects[C]. John Benjamins, 1976. &lt;br /&gt;
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[３]Schleiermacher, F. On the Different Methods of Translation[A]. In Robinson, D.(ed.). Western Translation Theory: From Herodotus to Nietzsche[C]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
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[４]Titford, Christopher.Subtitling: Constrained Translation[J]. Lebende Sprachen, 1982, 27(3):113-116.  &lt;br /&gt;
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[５]钱绍昌. 影视翻译──翻译园地中愈来愈重要的领域[J]. 中国翻译, 2000(1):61-65.&lt;br /&gt;
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[６]汪徽.字幕对伴随性词汇习得的影响[J].外语电化教学,2005(2):47-52. &lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
===Case Study===&lt;br /&gt;
&lt;br /&gt;
The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
&lt;br /&gt;
Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
&lt;br /&gt;
1)Conversion of part of speech&lt;br /&gt;
&lt;br /&gt;
Example 1:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
&lt;br /&gt;
Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
&lt;br /&gt;
The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
&lt;br /&gt;
TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
&lt;br /&gt;
Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
&lt;br /&gt;
2)Public signs&lt;br /&gt;
&lt;br /&gt;
Example 3 &amp;amp; 4:&lt;br /&gt;
&lt;br /&gt;
ST: ''Things To Do'' &lt;br /&gt;
&lt;br /&gt;
TT: 活动介绍&lt;br /&gt;
&lt;br /&gt;
ST: ''What you can do''&lt;br /&gt;
&lt;br /&gt;
TT: 解决措施&lt;br /&gt;
&lt;br /&gt;
Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
&lt;br /&gt;
Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
&lt;br /&gt;
Example 5 &amp;amp; 6:&lt;br /&gt;
&lt;br /&gt;
ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
&lt;br /&gt;
TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
&lt;br /&gt;
ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
&lt;br /&gt;
TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
&lt;br /&gt;
Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
&lt;br /&gt;
====At Syntactical Level====&lt;br /&gt;
&lt;br /&gt;
Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
&lt;br /&gt;
1)Change of subjects and passive voice&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
&lt;br /&gt;
TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
&lt;br /&gt;
Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
&lt;br /&gt;
Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
&lt;br /&gt;
Example 8 &amp;amp; 9: &lt;br /&gt;
&lt;br /&gt;
ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
&lt;br /&gt;
TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
&lt;br /&gt;
ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
&lt;br /&gt;
TT: 夏季提供的项目较少。&lt;br /&gt;
&lt;br /&gt;
Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
 &lt;br /&gt;
2)Punctuation&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
&lt;br /&gt;
TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
&lt;br /&gt;
Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
&lt;br /&gt;
So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
&lt;br /&gt;
TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
&lt;br /&gt;
Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
&lt;br /&gt;
====At Textual Level====&lt;br /&gt;
&lt;br /&gt;
Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
&lt;br /&gt;
Example 12:&lt;br /&gt;
&lt;br /&gt;
ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
&lt;br /&gt;
TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
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[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
'''Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
[3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)&lt;br /&gt;
&lt;br /&gt;
[6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.&lt;br /&gt;
&lt;br /&gt;
[10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.&lt;br /&gt;
&lt;br /&gt;
[11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.&lt;br /&gt;
&lt;br /&gt;
[12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
&lt;br /&gt;
同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸。&lt;br /&gt;
&lt;br /&gt;
(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
&lt;br /&gt;
但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
&lt;br /&gt;
(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
&lt;br /&gt;
一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
&lt;br /&gt;
The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
&lt;br /&gt;
=====Free Translation=====&lt;br /&gt;
&lt;br /&gt;
Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
&lt;br /&gt;
(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
&lt;br /&gt;
在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
&lt;br /&gt;
(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
&lt;br /&gt;
所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
&lt;br /&gt;
(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
&lt;br /&gt;
And first delights men in the ''lovely springs''.&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
&lt;br /&gt;
In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
&lt;br /&gt;
=====Imitation=====&lt;br /&gt;
&lt;br /&gt;
With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
&lt;br /&gt;
(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
 &lt;br /&gt;
成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
&lt;br /&gt;
The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
&lt;br /&gt;
And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
&lt;br /&gt;
②　Division:&lt;br /&gt;
&lt;br /&gt;
In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
&lt;br /&gt;
③　Addition:&lt;br /&gt;
&lt;br /&gt;
With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
&lt;br /&gt;
④　Repetition:&lt;br /&gt;
&lt;br /&gt;
The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
&lt;br /&gt;
The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
&lt;br /&gt;
(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
&lt;br /&gt;
一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
&lt;br /&gt;
In this example, there are also various translation techniques used.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
&lt;br /&gt;
Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
&lt;br /&gt;
Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
&lt;br /&gt;
②　Repetition:&lt;br /&gt;
&lt;br /&gt;
The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
 &lt;br /&gt;
In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
&lt;br /&gt;
我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
&lt;br /&gt;
Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
&lt;br /&gt;
And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
&lt;br /&gt;
In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
&lt;br /&gt;
(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
&lt;br /&gt;
另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
&lt;br /&gt;
This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Conversion:&lt;br /&gt;
&lt;br /&gt;
Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
②　Negation:&lt;br /&gt;
&lt;br /&gt;
The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
&lt;br /&gt;
③　Division:&lt;br /&gt;
&lt;br /&gt;
The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
&lt;br /&gt;
④　Addition:&lt;br /&gt;
&lt;br /&gt;
Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
&lt;br /&gt;
In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
&lt;br /&gt;
(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
&lt;br /&gt;
那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
&lt;br /&gt;
As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
&lt;br /&gt;
①　Division:&lt;br /&gt;
&lt;br /&gt;
The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
&lt;br /&gt;
②　Addition:&lt;br /&gt;
&lt;br /&gt;
The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
&lt;br /&gt;
③　Diction:&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
&lt;br /&gt;
④　Conversion:&lt;br /&gt;
&lt;br /&gt;
The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
&lt;br /&gt;
The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
&lt;br /&gt;
====Major Findings====&lt;br /&gt;
&lt;br /&gt;
Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
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With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
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At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
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At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
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The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
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====Limitations and Suggestions====&lt;br /&gt;
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There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
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[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
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===Appendix===&lt;br /&gt;
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(The original text:)&lt;br /&gt;
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The Pleasures of Ignorance&lt;br /&gt;
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By Robert Lynd&lt;br /&gt;
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It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
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When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
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(Liu Bingshan's Chinese translation:)&lt;br /&gt;
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无知常乐&lt;br /&gt;
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刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
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第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
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不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=毛优Chapter 5： Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
'''政论语体翻译策略及翻译方法— 以《2019年俄罗斯政府工作报告》为例'''&lt;br /&gt;
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毛优 Mao You，Hunan Normal University，China&lt;br /&gt;
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=Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
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[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
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[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
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[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
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[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
&lt;br /&gt;
======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
&lt;br /&gt;
The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
&lt;br /&gt;
Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
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Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
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Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
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Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
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Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
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Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
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Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
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2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
 2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
 The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
        Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
  In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
 This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
 This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
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===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
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4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
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4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
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4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
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4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
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4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
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4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
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4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
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4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
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4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
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4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
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4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
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4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
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4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
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4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
          This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
&lt;br /&gt;
  The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
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Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
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Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
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Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
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Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
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Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
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Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
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Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
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Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
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Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
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Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
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Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
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Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Monto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
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		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-12-10T06:17:14Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of Kong I-Chi as a Case Study */&lt;/p&gt;
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&lt;div&gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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[[Trans_Type_EN_1]] [[Trans_Type_EN_2]] [[Trans_Type_EN_3]] [[Trans_Type_EN_4]] [[Trans_Type_EN_5]] [[Trans_Type_EN_6]] [[Trans_Type_EN_7]] [[Trans_Type_EN_8]] [[Trans_Type_EN_9]] [[Trans_Type_EN_10]] [[Trans_Type_EN_11]] [[Trans_Type_EN_12]] [[Trans_Type_EN_13]] [[Trans_Type_EN_14]] [[Trans_Type_EN_15]] [[Trans_Type_EN_16]] [[Trans_Type_EN_17]] [[Trans_Type_EN_18]] [[Trans_Type_EN_19]] [[Trans_Type_EN_20]] [[Trans_Type_EN_21]] [[Trans_Type_EN_22]] [[Trans_Type_EN_23]] [[Trans_Type_EN_24]] [[Trans_Type_EN_25]] [[Trans_Type_EN_26]] [[Trans_Type_EN_27]] [[Trans_Type_EN_28]] [[Trans_Type_EN_29]] [[Trans_Type_EN_30]] ...&lt;br /&gt;
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[[Book_projects|Back to translation project overview]]&lt;br /&gt;
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[[DCG-To-Do|To the To Do List]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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==Introduction==&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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==Literature Review==&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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==Subtitle translation features==&lt;br /&gt;
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===Subtitle translation needs to be brief and comprehensive===&lt;br /&gt;
Subtitle translation should not be lengthy for two reasons: First, because the screen keeps switching, each screen stay can not be very long, the scene with the character’s dialogue switches over more quickly, in a matter of seconds, which is fleeting. Second, whether it is the large screen in the cinema or the small screen in the home, due to space constraints, if the subtitle translation is not simple enough, it will lead to an increase in the number of words in the target language, not to mention the English words that take up more space than Chinese phrases. English words take up more space than Chinese phrases.&lt;br /&gt;
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Take the Chinese phrase “Computer”for example, the English equivalent word is computer. The Chinese verb “来”corresponds to the English word “Come”. In general, English words have more characters than their Chinese counterparts, except in rare cases. Since the length of the word can not be artificially controlled, subtitle translation will put a higher demand on the number of words. In a typical presentation, Chinese and English subtitles are displayed simultaneously at the bottom of the screen, up to two lines of Chinese and two lines of English.&lt;br /&gt;
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If there are too many words, the limited space can not accommodate in a few seconds, the audience will have a dazzling feeling as well. Therefore, one of the distinctive features of subtitle translation is its concise use of words.&lt;br /&gt;
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===Subtitling translation requires natural equivalence===&lt;br /&gt;
The subtitling of the target language should be as natural as the subtitling of the source language. The subtitle translation discussed in this paper is mainly about the dialogue of the characters in the play. On the one hand, the style of dialogue is colloquial, in this sense,It is important   for the translator to pay attention to whether the subtitle translation that the target language audience can hear and see is in line with their daily speaking style.If the original spoken language is translated formally and rigidly, the audience of the target language will feel less natural and fluent, and their movie-watching experience can not be comparable with that of the source language audience. On the other hand, the spoken language features of the characters can clearly shape the characters in the play. If the translator does not grasp the spoken features of the characters, the target audience can not understand the character’s connotation as well as the source audience.&lt;br /&gt;
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Therefore,if a character needs to say something filthy, or even taboo, to make the character stand out, the subtitle translator must also translate the same filthy and taboo.These taboos should inevitably appear in the subtitle translation, and we should not mince words about them. The same is true of English to Chinese subtitle translation and Chinese to English translation. Because these taboo words are the extension of the role connotation, improper handling will affect the target audience's understanding of the connotation of the role.&lt;br /&gt;
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===Subtitle translation needs to be easy to understand===&lt;br /&gt;
The film and Television Play is the Popular Entertainment Program, so subtitle translation should be clear at a glance. There are thousands of people watching TV dramas, and their knowledge and cultural level vary widely, and their appreciation level is naturally mixed.Film and TV series have such a wide audience, which requires subtitle translation to take care of the needs of the majority of the audience whether from the perspective of box office and Audience Rating, or from the perspective of cultural communication.&lt;br /&gt;
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==Theory of Domestication and Foreignization==&lt;br /&gt;
In the process of translation, the translator should determine the general direction of translation, cultivate a good sense of culture, and fully understand that translation is an important feature of information exchange across different languages and cultures. But how to achieve that? There are two opposite strategies in translation: foreignization and domestication. The terms of domestication and foreignization were put forward by Laurence Venutti in his book Translators’ invisibility in 1995:&lt;br /&gt;
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===Domestication===&lt;br /&gt;
The domestication strategy is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to.Domestication requires the translator to be closer to the target language reader, and the translator must speak like the native author.This translation strategy will often make the translation transparent, smooth, relaxed and natural, close to the reader to the greatest extent, so as to dilute the strangeness brought by the original text.In film and television subtitle translation, domestication is often used in order to make the audience understand the film smoothly.&lt;br /&gt;
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===Foreignization===&lt;br /&gt;
The foreignization strategy is completely opposite to the domestication strategy, which is oriented by the source language culture and that &amp;quot;the translator should not disturb the author as much as possible to make the reader close to the author&amp;quot;.Foreignization advocates believe that the main purpose of translation is cultural communication, so the translation should try its best to preserve the language and cultural information contained in the source language.Only in this way can the exchange and fusion of source and target cultures be achieved through translation. In addition, they believe that the translator should believe the reader’s imagination and intelligence to the utmost, and believe that when reading the translated version, the reader should not only understand the simple words, but also understand the foreign culture through the words, and they have the capacity to understand the culture. &lt;br /&gt;
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Of course, as two translation strategies, domestication and foreignization are the unity of opposites and they complement each other. Absolute domestication and absolute foreignization do not exist.&lt;br /&gt;
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==Case Study==&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
The essence of “foreignization”is “the tendency toward the original author”, that is, the translator tries to be close to the original author in his translation (Xiong Bing, 2014). In the words of the Friedrich Schleiermacher, this means that the translator“Tries not to disturb the original author, but to take the reader to the original author”(Robinson, 2006:229) . Specifically in Translation, the translator tries to retain the original language, literariness, cultural characteristics and exotic customs (Xiong Bing, 2014) . Therefore, the nature of foreignization strategy is mainly in favor of the original author, and its defects are mainly reflected in the readability of the translation. In other words, the translation may be blunt and not well received and understood by the audience. Therefore, the translation effect is not ideal for the target audience.&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
Literal translation means keeping both the content and the form of the original text in the translation when the language conditions permit, especially the metaphor, image, national and local color of the original text.The vast majority of subtitle translation of the Us version of ''Legend of Zhen Huan'' adopts literal translation. Look at the following example:&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version：嬛嬛一袅楚宫腰。&lt;br /&gt;
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American version：the slim waist of the concubines of the Chu palace.&lt;br /&gt;
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For the word “Huan”in the name of Zhen Huan, the American version uses the Foreignization method, which is translated literally as the slim waist of the concubines of the Chu palace.Western audiences may be confused by the subtitles,Western audiences may be confused by the subtitles, because Zhen Huan is clearly a woman from the Qing Dynasty, how come another Chu Palace? In terms of accuracy and the conveying of cultural context, this translation is well-done, but it creates a barrier for the audience to understand. Therefore, the translation can throw out on its real meaning, such as translated into As my name, Huan, means graceful women with slim waist, &amp;quot;Chu palace&amp;quot; here means can be omitted.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：一片冰心在玉壶&lt;br /&gt;
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American version：A jade vessel is the symbol of a pure heart.&lt;br /&gt;
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“Jade Vessel”in Chinese has a unique associative meaning, while the meaning of these words in English is vacant. Western audiences just think that Dr. Wen is evaluating his character, but they can’t hear his pure love for Zhen Huan, so on the basis of foreignization, it’s better to add some domestication translation to make it easier for the audience to understand.&lt;br /&gt;
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The American versions of examples 1 and 2 are very literal and concise translations, because the original subtitles have no hidden meaning.However, due to the wrong choice of translation methods, a small number of translated subtitles are just like translation cavities.If the cultural significance of the original text is lost, the translation may be regarded as a failure.In a sense, actors’ performances and lines are the &amp;quot;booster&amp;quot; of the plot development of the TV series.However, if the audience can not understand the original meaning, the story will be much less attractive in the eyes of the audience.For example:&lt;br /&gt;
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Example 3&lt;br /&gt;
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Chinese version：“赏你一丈红”&lt;br /&gt;
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American version：Then I will award Attendant Xia the Scarlet Red.&lt;br /&gt;
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In the original subtitle of example 3, “一丈红” (yi zhang hong,  literally “two-meter-long red”) is used to punish a palace maid or a  concubine who had done something wrong in China’s ancient imperial palace. The specific content of the penalty goes as follows: a two-meter-long and two-inch-thick board was used by the performer to give the guilty palace maid or concubine a good beating on their waist or the place below it until their bones were broken and the blood gushed out.   Looking from the distance, you will see that the blood covered a long distance. Thus, it is called “一丈红”. &lt;br /&gt;
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In the American version of Legend of Zhen Huan, it is translated into “the Scarlet Red”. the word Scarlet itself means “Lewd and sinful,”as in the Scarlet letter. It is very appropriate to translate &amp;quot;red&amp;quot; with scarlet. However, this partial literal translation runs counter to the American audience’s way of thinking, which they think it as nothing more than a horror show. In this way, the specific penalty content will be lost, and the target audience can't feel that the harem struggle is everywhere in the court, and can't get the equal effect for them.&lt;br /&gt;
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In this way, the specific content of the penalty will be lost, the target audience can not feel the Harem struggle existed everywhere in the imperial court and the equivalent effects cannot be obtained for them.&lt;br /&gt;
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====Zero Translation====&lt;br /&gt;
The so-called &amp;quot;zero translation&amp;quot; means that some elements of the source language are directly introduced into the target language without the ready-made words in the target language (Xiong Bing, 2014). This translation method is mainly used to translate the names of people and officials in the English version of the ''Legend of Zhen Huan''. That’s because in ancient China, there was a very strict patriarchal system with the ideas of three cardinal guides and the five constant virtues.&lt;br /&gt;
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In the eyes of the Chinese people, the distinction between the titles of concubines and concubines is clear at a glance, but it is difficult for foreigners to see these things, because medieval European monarchs were nominally allowed only one wife, there is no such complicated hierarchy of appellation among women. Therefore, such titles as &amp;quot;贵妃&amp;quot;, &amp;quot;妃&amp;quot;, &amp;quot;嫔&amp;quot;, &amp;quot;贵人&amp;quot;, &amp;quot;常在&amp;quot; and &amp;quot;答应&amp;quot; are presented in a dynamic equivalent way (words with similar functions in the source language), for example:&lt;br /&gt;
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Example 4&lt;br /&gt;
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熹贵妃——Noble Consort Xi    华妃——Consort Hua&lt;br /&gt;
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莞嫔 ——Concubine Huan       沈贵人——Lady Shen&lt;br /&gt;
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夏常在——Attendant Xia       小主——Young Mistress&lt;br /&gt;
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敦亲王：Prince Dun            舒太妃：Consort Dowager Shu&lt;br /&gt;
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Example 4 only shows a few official titles of the characters in the ''Legend of Zhen Huan''. However, the translation subtitles in this example reveal a subtitle rule that the American version of the ''Legend of Zhen Huan'' Uses Zero Translation for personal names and free translation for official titles. And we can clearly see the efforts of translators to represent this hierarchical culture in ancient China. However, this method of translation can not meet the needs of the current audience, because the ancient Chinese culture is broad and profound, and the official titles of emperors and concubines in the play conform to the traditional Chinese culture&lt;br /&gt;
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However, the cultural ideologies of the American people and the Chinese people are very different. Traditional translation can not convey the characteristics of the characters and the intensification of their contradictions. The American people have not experienced the five thousand years of slavery and feudalism in China, nor do English dictionaries or translation related books have Chinese cultural vocabulary. In addition, the current subtitle translation does not advocate the use of a large number of notes, which will have a negative impact on the effect of watching the drama.&lt;br /&gt;
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Therefore, notes are usually used only for the first appearance of a character, in order to provide the necessary introduction in enough subtitling space.When they appear a second time, the introduction will be omitted.As for the conflicts between the characters and the progress of the plot, it is difficult for the target audience unfamiliar with Chinese History to adapt to the culture and conflict in the play. Therefore, it is hard to arouse their interest in watching this drama.&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
Opposite to the foreignizing strategy, domestication is characterized by the “tendency toward the target recipients” (Xiong Bing, 2014). In other words, the translator tries to be as close to the target recipients in the translation as possible. In Schleiermacher’s words, it means that translators “try not to disturb the reader, but to bring the original author to the reader” (Robinson, 2006: 229). Specifically speaking, in the translation, the translator uses the language, literary devices, cultural elements that the target language readers love to replace the language, literary devices and cultural elements of the original language as much as possible, and abides by the language, literary devices and cultural norms of the original language (Xiong Bing, 2014). &lt;br /&gt;
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The domesticating strategy is a translation strategy just opposite to the foreignizing strategy. Its advantage is that the translation can be fluent, easy to understand, and easily accepted by the target recipients; or it tries to meet the specific needs of the target audience. However, the domesticating strategy also has some shortcomings. The first weakness of it is the loss of the language, literariness, culture and other important elements of the source text, so that the target audience cannot appreciate the exotic authentic language and cultural practices. This cannot help the cultural exchange and dissemination between different ethnic groups. The second weakness is that the domesticating strategy of the translated text may lead to semantic loss and semantic ambiguity in translated texts.&lt;br /&gt;
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====Omission====&lt;br /&gt;
Omission is a very important method in domestication strategy.The Syntactic structure of English emphasizes &amp;quot;hypotaxis&amp;quot;, and there are appropriate connecting elements between each component of a sentence to express their mutual relations, which emphasizes the consistency and coordination of grammatical relations.The structure of Chinese sentences is &amp;quot;parataxis&amp;quot;, and the relationship between each component of the sentence depends more on the intention, and less on the linking component. The structure form is relatively relaxed, and the words and sentences are relatively simple.Therefore, Omission is one of the most common methods in Chinese text translation.Word reduction means that in translation, the translator must grasp the differences between Chinese and English, omit the unnecessary linking elements in Chinese, make the translation smooth, avoid stiff and cumbersome, and eliminate unnecessary words and words as far as possible.There are many examples of reducing words in the translation of Legend of Zhen Huan.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“先敬罗衣后敬人。” &lt;br /&gt;
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American version: “The clothing completes the person.”&lt;br /&gt;
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This Chinese idiom means that people will first look at the clothes they are wearing and judge their social status according to the clothes. There is a derogatory element in it.However, in the translation of this sentence, the translator adopted the word reduction method and did not translate every word.The word &amp;quot;complete&amp;quot; expresses the idea that &amp;quot;clothes make the man&amp;quot;, but fails to express the meaning intended in the original text.Therefore, the author thinks that can continue to use the Omission here, will change its translated into “According to clothing to estimate people’s status.”&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version: “花开堪折直须折，莫待无花空折枝。” &lt;br /&gt;
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American version: One must pick a flower at the prime of its bloom, Do not wait until the blossom fade and falls.&lt;br /&gt;
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There are three Chinese characters for &amp;quot;折&amp;quot; in this sentence, but the translator did not show any of them in the Process of English translation.Shall we say that he did not translate the Chinese meaning?Of course not. The translator must have noticed these three &amp;quot;fold&amp;quot; characters in the process of translation. If one of them is translated out, the sentence will appear too long-winded and not in line with the characteristics of subtitle translation.Therefore, the translator starts from the meaning of the original text to persuade people to cherish, and cleverly leaves out the word &amp;quot;折&amp;quot;, which not only avoids repetition, but also conveys the meaning of the original text.This reflects the three principles of Skopos theory: &amp;quot;Based on the source language, pay attention to the culture in the target language, the intention of translation activities and the acceptance state of the American audience&amp;quot;.&lt;br /&gt;
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====Addition====&lt;br /&gt;
Addition is also an important translation method in domestication strategy.Augmentation refers to the use of structural and semantic augmentation to compensate for linguistic and cultural deficiencies in the target text.Structural supplement refers to the addition of omitted words or replaced words to make the content of translation more complete.Semantic supplement refers to the translator's addition of nouns, verbs, summative words, explanatory words and conjunctions to compensate for the lack of language and culture in the target text so that readers can understand the original text.&lt;br /&gt;
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Example 1&lt;br /&gt;
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Chinese version:“他不忍叫你明珠暗投。”  &lt;br /&gt;
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American version:&amp;quot;You will not be granted an ordinary life when you can live an extraordinary one.&lt;br /&gt;
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In this example, the translator adopted Addition method to make a explanatory translation for &amp;quot;明珠暗投&amp;quot; , the translation of &amp;quot;be granted an ordinary life when you can live an extraordinary one.&amp;quot;As we know, Chinese idioms are one of the wonders of The Han culture, and they often show rich implicit meanings in condensed four-character sentences.In the translation of this sentence, it is easy for us to understand the meaning of &amp;quot; 明珠暗投&amp;quot;&amp;quot;, but how to make the American audience understand, the translator needs to make an explanation, so that the American audience can understand the implicit meaning of the original text, so as to reduce the cultural burden.&lt;br /&gt;
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Example 2&lt;br /&gt;
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Chinese version：“臣妾一与社稷无功，二与龙脉无助。” &lt;br /&gt;
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American version:“Firstly, I have made no contribution to the nation. Secondly, I have begotten no heirs.&lt;br /&gt;
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In example 2, the translator interprets &amp;quot;社稷&amp;quot; as &amp;quot;nation&amp;quot; for readers to understand.&amp;quot;社稷&amp;quot; has always been a synonym for &amp;quot;nation&amp;quot; in Chinese, just as &amp;quot;White House&amp;quot; is a synonym for &amp;quot;America&amp;quot;. In addition, there is no English equivalent for &amp;quot;nation&amp;quot;, so it is appropriate for the translator to use &amp;quot;nation&amp;quot;.Heirs to dragon vein, a Feng shui concept meaning undulating mountains, succeed.Later, the royal family regarded it as the lifeblood of the country, so they would call the royal blood &amp;quot;dragon vein&amp;quot;.Heirs to dragon Vein, which in this case means heirs to the emperor's children, succeed in translating it into Heirs to the emperor.It's less common and more advanced than the word &amp;quot;children&amp;quot;, which is often thrown around.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
The subtitle translation strategy of Legend of Zhen Huan generally focuses on domestication, and tends to transform implicit meaning into explicit meaning.When the meaning of the source language is complex and difficult to be understood by the target language audience, the translation strategy of domestication is usually adopted, and the expressions used in the target language are adopted.If there is an equivalent or similar expression between the target language and the source language, alienation should be considered, and a concise explanation should be added if conditions permit, so that the cultural essence of the source language can be preserved and the audience can experience the charm and national characteristics of traditional Chinese culture.&lt;br /&gt;
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As a translation strategy, absolute domestication and absolute foreignization do not exist in translation practice.The task of the translator is to make the best use of the two strategies in practice according to the specific language characteristics, the purpose, the language characteristics of the source language and the target language, and the national culture, so as to bridge the cultural differences between the two countries.&lt;br /&gt;
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==Reference==&lt;br /&gt;
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[７]熊兵. 翻译研究中的概念混淆——以“翻译策略”、“翻译方法”和“翻译技巧”为例[J]. 中国翻译, 2014(3):82-88.&lt;br /&gt;
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=2 刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2000). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation''. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'', Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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Generally speaking, there is partial equivalence between English and Chinese, that is, similar expressions in Chinese can replace the meaning of English words or phrases (Liu Junping, 2009). In the following, two translation methods used in lexical translation will be introduced: conversion of part of speech and the translation of public signs.&lt;br /&gt;
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1)Conversion of part of speech&lt;br /&gt;
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Example 1:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。&lt;br /&gt;
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Analysis: As we all know, English belongs to the Indo-European language family, while Chinese the Sino-Tibetan language family. Many differences exist between English and Chinese in terms of vocabulary and grammatical structure. Therefore, in the process of translating English into Chinese, due to the different ways of expression between English and Chinese some sentences can be translated word by word, while most sentences cannot. In order to make the Chinese translation smooth and natural, some words in the original text need to be converted into different parts of speech in the target text without sticking to the surface structure of the original text. In other words, some words in the original text can be converted into other parts of speech in Chinese on the premise of being faithful to the original meaning and retaining the original effect. &lt;br /&gt;
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The original sentence uses a nominal phrase “no shortage of” to express the meaning that no matter how many people come together for outdoor activities, there are always options. The translator translates it into a verbal phrase, that is, everyone can find a suitable outdoor activity here, so that the meaning gets across and the whole sentence flows naturally.&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST: ''Accessibility: No immediate trails.''&lt;br /&gt;
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TT: 如何前往：没有路径可直接到达。&lt;br /&gt;
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Analysis: As English tends to use more nouns with static narratives, while Chinese tends to use more verbs with dynamic ones. The static tendency of English mainly comes from nominalization, a common phenomenon in English. Nominalization mainly refers to the use of nouns (phrases) to express the information originally expressed by verbs (phrases), such as the use of abstract nouns to express actions, behaviors, changes, states, etc (Lian Shuneng, 1993). For example, “accessibility” in Example 2 is an abstract noun, which is used to show the way to one place. Chinese, on the other hand, tends to use verbs. So, in order to better convey the effect and let the reader read without any doubt or discomfort, the translator converted the noun into a verb phrase, that is “如何前往”. Likewise, in the noun phrase “no immediate trails”, the author wants to say that there is no direct way (to arrive at the destination). When translating, if it is directly translated into a noun phrase “没有直达路”, the reader may feel difficult to read. So, if it is translated into “there is no direct path can reach that place”, the sentence will be more smoothly and convey the original information and the effect is also retained.&lt;br /&gt;
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2)Public signs&lt;br /&gt;
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Example 3 &amp;amp; 4:&lt;br /&gt;
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ST: ''Things To Do'' &lt;br /&gt;
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TT: 活动介绍&lt;br /&gt;
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ST: ''What you can do''&lt;br /&gt;
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TT: 解决措施&lt;br /&gt;
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Analysis: As mentioned in the theoretical framework above, tourism text belongs to vocative text. As a kind of tourism text, public signs are a special style for specific people to achieve a certain communicative purpose. Its application scope is very wide, almost involved in every aspect of our daily life, such as street signs, billboards, road signs, shop signs, warnings, propaganda, travel briefs and so on. As a communicative tool, it conveys necessary and useful information to the public by means of a few words, simple and easy to understand icons or the combination of both (He Xueyun, 2006). Therefore, it can be seen that public signs feature lots of nouns, verbs, phrases and abbreviations and more often, fixed expression, which means in translation, only concise and idiomatic expression can fully convey the effect of the original text.&lt;br /&gt;
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Just as the example 3, once the original text is translated literally, that is “要做的事情”, it sounds rather awkward, which not only does not convey the meaning of the source text that was intended as an introduction to the activities that can be done, but also may lead the reader to believe that this section is about what is required. However, if it is translated into “活动介绍”, readers can clearly know the main content of this part and can find out the activities they are interested in. This expression is very concise and also in line with the Chinese language habits. The same is true of example 4.&lt;br /&gt;
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Example 5 &amp;amp; 6:&lt;br /&gt;
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ST: ''Alligators and crocodiles - Crocodilians are one of the reasons people visit the park, however, these are wild animals that can be dangerous to humans.''&lt;br /&gt;
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TT: 小心短吻鳄和鳄鱼——鳄鱼是人们参观公园的原因之一，然而，这些野生动物对人类会很危险。&lt;br /&gt;
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ST: ''Poisonous plants - The park’s ecosystems support a variety of plant life including some that cause reactions to human skin.''&lt;br /&gt;
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TT: 警惕有毒植物——公园的生态系统支持多种植物的生长，包括一些会对是人类皮肤过敏的植物。&lt;br /&gt;
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Analysis: Tourist texts belong to the vocative text, emphasizing the transfer of the effect of the information and the empathy of the reader. This requires the translator to pay attention to the internal logic of the text, modify the translated text to make it clear in the process of tourism translation without sticking to the original form and give full consideration to the core position of readers. &lt;br /&gt;
Examples 5 and 6 are in the same sentence structure -- firstly species are given, and then that the species could be in some danger is pointed out. If it is translated in accordance with the original text word by word, then the front part is just posing out that species. However, if such warning words as “小心” or “警惕” are added, it can let the reader know before he continues reading that this species may be dangerous when visiting, and then with reading below, the reader will know why it is dangerous. This will prepare the reader mentally, and the reading will be smoother.&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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Two aspects are included in syntactic analysis, which are change of subjects and passive voice, and the punctuation.&lt;br /&gt;
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1)Change of subjects and passive voice&lt;br /&gt;
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Example 7:&lt;br /&gt;
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ST: ''Wading birds, cormorants, Purple Gallinules, and nesting Anhingas may be found along the path anytime of the day during the winter (dry) season.''&lt;br /&gt;
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TT: 在冬季（旱季），任何时候您都可以在沿路发现涉水鸟类、鸬鹚、紫雀和筑巢的美洲蛇鸟。&lt;br /&gt;
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Analysis: English tends to use more impersonal subjects, which means it rarely uses the personal subject to describe but expresses how objective things act on people’s perception to things appear in an objective tone. So, the structure is often like this: inanimate subject + animate subject (Lian Shuneng, 2010). Chinese pays more attention to subjective thinking, and often describes objective things from the point of view of oneself, or tends to describe people and their behavior or state, so the personal subject is often used. When the personal subject is clear, Chinese often implies or omits it.&lt;br /&gt;
Passive voice is a common grammatical phenomenon in English. In some styles, the use of passive sentences has almost become a habit of expression. Passive sentences give rise to the tendency of using impersonal subjects, and vice versa. Chinese uses fewer passive forms. The main reason for this difference is that the use of passive forms in Chinese is limited, and the mark of the passive voice, such as “让”, “给”, “受”, mostly expresses displeasure.&lt;br /&gt;
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Therefore, in example 7, the translator transformed the passive voice into the active voice and the impersonal subjects “Wading birds, cormorants, Purple Gallinules, and nesting Anhingas” into the personal subjects “您”. What’s more, as this tourism text is written for readers, the use of the second person subject can shorten the distance. &lt;br /&gt;
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Example 8 &amp;amp; 9: &lt;br /&gt;
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ST: ''Wading birds, American Coots, Osprey, White-crowned Pigeons, warblers, Red-shouldered Hawks, Anhingas, rails, Painted Buntings and other transients are best viewed here in the morning.''&lt;br /&gt;
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TT: 早晨在这里观赏涉禽、美洲骨顶鸡、鱼鹰、白头鸽、莺、赤肩鹫、美洲蛇鸟、秧鸡、彩绘鹀和其他过路的鸟类的效果最好。&lt;br /&gt;
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ST: ''In the summer, fewer programs are offered.''&lt;br /&gt;
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TT: 夏季提供的项目较少。&lt;br /&gt;
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Analysis: Just as what has been said above, English has a tendency to use impersonal subjects and passive voice, while Chinese is exactly the opposite. And when the subject is clear, Chinese often implies or omits it, which is just like example 8 the personal subject “you” is omitted. &lt;br /&gt;
In example 9, the omitted subject is the national park, and the temporal adverbial phrase “in the summer” becomes the subject in form, which is a common expression in Chinese. That is because subjects in Chinese are not only in various forms, but also dispensable: it can denote giving, receiving, time, place.&lt;br /&gt;
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2)Punctuation&lt;br /&gt;
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Example 10:&lt;br /&gt;
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ST: ''Connecting trails through the Pinelands run 7 miles (11 km) west from the Long Pine Key campground to Pine Glades Lake along the main park road.''&lt;br /&gt;
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TT: 这些小道从长松岛营地向西延伸7英里（11公里），穿过一片松林地，连通公园主路边松林湖。&lt;br /&gt;
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Analysis: English sentences are complicated, and subordination is one of the most important characteristics of modern English, which features right-branching, sentences long and complex, made in “architecture style”. Conversely, Chinese sentences are relatively short, and commonly use scattered sentences, loose sentences, tight sentences or composite sentences with parallel structure. Chinese features left-branching, and sentences are made in “chronicle style”, using clauses to streamline the thoughts. &lt;br /&gt;
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So, when there are many prepositional phrases in the original English sentence, the translator can divide the long sentence into several short sentences and recognize those by adding comma, which can help readers to sort out the logic of the original text and get the main information. By using communicative translation, the translator divided the original sentence into three sentences. The logical sequence is that “The trails run seven miles (11 kilometers) west from the Long Pine Key campground. Passing through the Pinelands, they lead to Pine Glades Lake along the main park road.”, which shows the location of both the Long Pine Key campground, the Pinelands and Pine Glades Lake correctly, leaving no doubt to readers of the target language.&lt;br /&gt;
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Example 11:&lt;br /&gt;
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ST: ''In keeping with Monroe County’s closure order for beaches, North Nest Key and all waters within 100 yards from the shore will be closed for protection of park resources during the holiday weekend. The closure will begin on Friday, July 3 at 6 a.m.''&lt;br /&gt;
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TT: 根据门罗县对海滩的关闭安排，为保护公园资源，北巢岛和离海岸100码以内的所有水域将自7月3日星期五早上6点起暂停对外开放。&lt;br /&gt;
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Analysis: In the original text there are two sentences, which can be combined to make the meaning complete and language pithy in the target language. And it can be taken into consideration to reconstruct them by replacing full stop with comma. By considering communicative translation, the translator put two prepositional phrases in advance as adverbials, which are “in keeping with Monroe County’s closure order for beaches” and “for protection of park resources during the holiday weekend”, and then turned the second sentence into a temporal adverbial phrase and put it in the main clause as an adverbial. So, the whole structure is “In keeping with Monroe County’s closure order for beaches and for protection of park resources during the holiday weekend, North Nest Key and all waters within 100 yards from the shore will be closed from Friday, July 3 at 6 a.m.” By doing so, the information is concisely conveyed, and Chinese readers can well understand it.&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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Discourse refers to the actual language unit used and is the whole language constituted by a series of consecutive paragraphs or sentences in the communication process. In general, a text consists of words, phrases, sentences and sentence cluster (Lan Lingyan, 2020), among which the components were cohesion in form and coherence in semantics.&lt;br /&gt;
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Example 12:&lt;br /&gt;
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ST: ''There is no shortage of activities for individuals, groups, or families to enjoy outdoors. The diverse habitats allow for enjoyable activities ranging from hiking, canoeing, kayaking, biking, fresh and saltwater fishing, and camping in the ultimate wilderness.''&lt;br /&gt;
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TT: 个人、团体或家庭都能在这找到适合的户外活动。无论是步行、乘坐独木舟、划皮划艇、骑自行车，还是在淡水或海水钓鱼、在终极荒野地露营，您都可以饱览多样的自然环境、尽享快乐。&lt;br /&gt;
&lt;br /&gt;
Analysis: Coherence in a piece of writing refers to the principle that all paragraphs, sentences or ideas are combined so well that they form a united whole. Coherent translation has smooth structural, grammatical, and logical movement from one sentence or idea to the next and the reader does not have to pause and guess at the meaning caused by gaps in development between ideas, sentences and paragraphs. &lt;br /&gt;
&lt;br /&gt;
In example 12, the last topic of the fist sentence in the original sentence is outdoor activities, while the subject of the second sentence is the diverse habitats. This is a shift in the topic, which may make the readers pause and guess at the logical relation between them. Therefore, in translation, guided by communicative translation, the translator needs to mind the text coherence and to make proper adjustments. Out of this, the translator put the activities in the second sentences as the subject of the second sentence in the target text, so that the first sentence can pass through smoothly to the next one, so does the understanding of readers.&lt;br /&gt;
&lt;br /&gt;
Example 13:&lt;br /&gt;
&lt;br /&gt;
ST: ''Everglades National Park is a popular spot for saltwater and freshwater sport fishing. Boats can be chartered at Flamingo. Be sure to check a visitor center for park fishing regulations and closed areas.''&lt;br /&gt;
&lt;br /&gt;
TT: 大沼泽地国家公园是一个很受欢迎的钓海水鱼和淡水鱼的地方。在弗拉明戈可以租船。在钓鱼之前，一定要阅读游客中心的公园捕鱼规定和封闭区域。&lt;br /&gt;
&lt;br /&gt;
Analysis: Cohesion can be thought of as all the grammatical and lexical links that link one part of a text to another. This includes the use of synonyms, lexical sets, pronouns, verb tenses, time references, grammatical reference, etc. For example, ‘it’, ‘neither’ and ‘this’ all refer to an idea previously mentioned.&lt;br /&gt;
&lt;br /&gt;
In example 13, this paragraph mainly talks about fishing in the Everglades National Park, with a topic sentence and two explanatory sentences: one introducing the place for chartering and the other cautions. There are no grammatical or lexical links within these three sentences, and the logic is connected by semantics. Considering well understanding of readers in the target language, the translator added one lexical link “before fishing” between the last two sentences, to make the reader understand that he or she should read the rules and precautions of fishing before going fishing. Also, with repeating the key word “fishing”, the central idea of this whole paragraph is prominent, and the sentences are logically and smoothly linked to express the intended meaning, thus making this paragraph a cohesive group.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
====Major findings====&lt;br /&gt;
For the text, the tourism text belongs to the vocative text, which focuses on conveying the information and effect, so the communicative translation theory should be adopted to this kind of translation. As for this original text, the first part that introduces the outdoor activities belongs to the tourism advertisements, which are descriptive with vivid words. Tourism advertising is infective, with short and concise words, full of creativity, lively and concise sentence structure, and strong attraction. While the announcement that informs of the operating status of the park is a quite different style. The wording is formal, standard, accurate and stylized. Secondly, the source text involves a wide range of knowledge and large vocabulary. For example, “hardwood hammock” for “硬木吊床” and “Geocaching” for “寻宝”. &lt;br /&gt;
&lt;br /&gt;
Based on the analysis of examples from lexical, syntactic and textual levels, some translation methods can be proposed. On one hand, when translating, some words in the target text can be converted into different parts of speech in the original text to make the language natural and idiomatic. On the other hand, when doing English – Chinese translation, in most cases, passive voice should be changed into active voice, personal subject is favored in Chinese, and subjects can also be omitted sometimes. Lastly, as English and Chinese have lots of differences in sentences, the translator should change the order of the sentences sometimes to make them smooth and fluent, and some words can be added to make the meaning coherent.&lt;br /&gt;
&lt;br /&gt;
====Limitations====&lt;br /&gt;
&lt;br /&gt;
Besides some major findings, there are also many limitations in this translation practice. Firstly, communicative translation focuses on the effect conveyed by the translation rather than the information, which can easily make the translator ignore some original. So, in the translation, other available translation theories should also be taken into account to achieve best translation. &lt;br /&gt;
&lt;br /&gt;
Then, when translating a text, whether it is a tourism text or a literary works, they cannot be translated immediately. Relevant information and background should be collected in advance, and otherwise some mistakes which should be avoided will be made. For example, “Snail Kite (蜗鸢)” might be translated as “蜗牛风筝” if the translator does not look it up in advance.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1] Newmark, Peter. About Translation[M]. Beijing: Foreign Language Teaching and Research Press, 2006. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark. Approaches to translation[M]. Shanghai Foreign Language Education Press, 2001. &lt;br /&gt;
&lt;br /&gt;
[3] Newmark, Peter. A New Theory of Translation[J]. Sborník Prací Filozofické Fakulty Brněnské Univerzity, 2007(13)&lt;br /&gt;
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[4] Newmark, Peter. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001:39-42. &lt;br /&gt;
&lt;br /&gt;
[5] 贺学耘.汉英公示语翻译的现状及其交际翻译策略[J].外语与外语教学, 2006(03):57-59.&lt;br /&gt;
&lt;br /&gt;
[6] 侯莹莹.凯瑟琳娜·莱斯与彼得·纽马克文本类型翻译理论之比较研究[J].海外英语, 2020(22):49-50+60. &lt;br /&gt;
&lt;br /&gt;
[7] 金惠康.跨文化旅游翻译探讨[J].上海翻译, 2007(01):31-34.&lt;br /&gt;
&lt;br /&gt;
[8] 兰灵艳.交际翻译理论指导下《家庭生活》（节选）汉译实践报告[D].南昌大学, 2020.&lt;br /&gt;
&lt;br /&gt;
[9] 李道胜. 汉英语义对比分析[J]. 语言教育, 2000(4):4-5.&lt;br /&gt;
&lt;br /&gt;
[10] 连淑能.《英汉对比研究》[M]. 北京：高等教育出版社, 1993.&lt;br /&gt;
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[11] 刘安洪.跨文化交际视角下的旅游文本翻译策略研究[J].中华文化论坛, 2013(10):160-163. &lt;br /&gt;
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[12] 刘军平，西方翻译理论通史[M]. 武汉：武汉大学出版社, 2009.&lt;br /&gt;
&lt;br /&gt;
[13] 马忱.交际翻译策略对汉英旅游翻译的启示[J].郑州航空工业管理学院学报(社会科学版), 2010,29(06):119-121.&lt;br /&gt;
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=3 刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
&lt;br /&gt;
If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
=== The application of communicative translation theory at lexical level===&lt;br /&gt;
'''Transliteration'''&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
&lt;br /&gt;
Eg.1 그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
First translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Retranslation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
&lt;br /&gt;
Eg.2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation ：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
&lt;br /&gt;
'''Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
&lt;br /&gt;
Eg.3：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
&lt;br /&gt;
Eg.4: ①그러니까 엄마는 내가 돈 얘기 할 것을 미리 알고서 지금 차단막을 치는&lt;br /&gt;
것이리라.&lt;br /&gt;
②형이 옆구리를 툭 치며.&lt;br /&gt;
③까지는 살큼 익혀서 찬지름 치고 조선간장으로 조물조물 무쳐노면 고기반찬보다 낫드라.&lt;br /&gt;
Translation：①但母亲好像早已看透了我的心思，先堵住了我的口。&lt;br /&gt;
②大哥用胳膊肘戳了我一下。&lt;br /&gt;
③蒸个七八分熟的时候撒上香油好好拌一下就行了，这样比那些荤食都好吃。&lt;br /&gt;
&lt;br /&gt;
The verb &amp;quot;치&amp;quot; would give many different meanings with different words, such as ①&amp;quot;beating, beating, beating, playing&amp;quot;.② take, base, wrap, erect, ③ feed, feed, etc. On the basis of communicative translation theory, and fully understand the original meaning, context, and considering Chinese words collocation is used, depending on the context, the extension method was adopted, will &amp;quot;치 다&amp;quot; translated into &amp;quot;blocking&amp;quot;, &amp;quot;stamp&amp;quot;, &amp;quot;and&amp;quot; verb, such as to conform to the Chinese habits of expression.&lt;br /&gt;
&lt;br /&gt;
===The expression of communicative translation theory at the sentence level===&lt;br /&gt;
Communicative translation theory is pointed out that to the readers, the translator should give full play to the advantages of the target language, to make the translation conform to the target language expression of habit, not to leave any arcane to readers, while Korean and Chinese belong to different language families, there are differences in expression habit, this summary is mainly under the guidance of communicative translation theory, This paper analyzes the translation of sentences in The Pure Man and The Goat Family by means of paraphrase, syntactic and combined translation.&lt;br /&gt;
&lt;br /&gt;
'''Interpretation method'''&lt;br /&gt;
&lt;br /&gt;
Hermeneutic method is also an interpretative translation method. Because Chinese and Korean have different expression habits, in the process of translation, we can use the paraphrase method to explain some ambiguous sentences, which can not only make the translation clear, but also accurately convey the original purpose.&lt;br /&gt;
&lt;br /&gt;
Eg.5：어느날, 아이가 눈에 보이는 사물들을 가리켜 얼마짜리냐고 물었을 때, 어떤 행위를 가리켜 얼마 받느냐고 물었을 때, 나는 어린것이 별걸다 궁금해한다고 면박을 줬다. 면박을 주는 것으로 마음에 이는 민망함을 무마시켰다. 아이의 입에서 처음 돈 얘기가 나왔을 때, 그때 나는 이미 알아챘어야 했는지도 모른다.&lt;br /&gt;
First Translation: 当某一天，孩子们指着各种东西问花了多少钱，挣了多少钱时，我当面斥责说“小孩子家家的，真是什么都好奇”。我以这种当面驳斥的方式来掩饰心中的尴尬。当我第一次从孩子嘴里听到关于钱的话题时,我可能就已经觉察到了些什么。&lt;br /&gt;
Retranslation: 当某一天，孩子们指着各种东西问价格时，我当面斥责说‘小孩子家的，问这个做什么’，以此来掩饰我内心的尴尬。当我第一次从孩子嘴里听到关于钱的话题时，我可能已经觉察到时代变了，我那‘不知钱为何物’的时代过去了。&lt;br /&gt;
&lt;br /&gt;
The author at the beginning of the translation of &amp;quot;그 때 나 는 이 미 알 아 챘 어 야 했 는 지 도 모 른 다&amp;quot;, literal translation is &amp;quot;I may already have noticed what&amp;quot;, but the specific perceive what is not clear, causing distress to Chinese readers, by contacting the above learned that the &amp;quot;I&amp;quot; as a child is the hairpin, objects such as pottery fragments, But now the child is the &amp;quot;money&amp;quot;, the author under the guidance of communicative translation theory, to the readers, adopting the tactics of interpretation method, interpreted &amp;quot;I perceived that the&amp;quot; content &amp;quot;I might have been aware of The Times have changed, I that 'I don't know the money was the era of the past&amp;quot;, thus the author want to convey the original concept of the era of the change of the clear expression come out.&lt;br /&gt;
&lt;br /&gt;
Eg.6：영호야, 명절 때만이라도 꼭 아빠한데 가봐, 가기 싫으면 연락이라도 드리고.아빠가 아무리 네 맘에 안 들더라도 너는 네 할 도리를 해야 떳떳한 사람이 되는 거야,알았지?&lt;br /&gt;
First Translation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。只有做了自已应该做的才能做一个光明磊落的人，知道吗？&lt;br /&gt;
Retranslation: 永浩呀，无论你多么讨厌爸爸，逢年过节的时候也应该去一趟爸爸家，即便不想去也要打一个电话。为人处事和忠孝贤良是亘古不变的，要想做一个光明磊落的人，就要做好自己的分内之事，知道吗？阿姨的话要记住哦。&lt;br /&gt;
&lt;br /&gt;
Early in the translation of &amp;quot;너 는 네 할 도 리 를 해 야 떳 떳 한 사 람 이 되 는 거 야&amp;quot;, the corresponding Chinese literal translation is &amp;quot;only do oneself should do can do a aboveboard person&amp;quot;, but &amp;quot;할 도 리&amp;quot; what, did not explain clearly in the original, need the reader to consider, in order not to leave readers obscure place, The author puts the advantage of Chinese into full play and interprets &amp;quot;up 도 wish to be good&amp;quot; into English by means of context and translation theory. At the same time, I also think that this is the advice of adults. It is necessary to tell him this truth in a soft and powerful tone. After this sentence, &amp;quot;Remember what aunt said&amp;quot; is added to make the original meaning clearly conveyed to readers, so that readers can better understand the original content.&lt;br /&gt;
&lt;br /&gt;
'''demolition syntax'''&lt;br /&gt;
Deconstruction is the breaking down of a long sentence into several shorter sentences. As Korean and Chinese belong to different language families, there are many differences in syntax. The word order of Korean sentences is the structure of SOV, and narration is the main body and focus of the sentence, and there are a large number of long sentences, which rely on word endings to express various grammatical meanings. No amount of sentence elements will cause meaning confusion.&lt;br /&gt;
&lt;br /&gt;
However, the word order of Chinese sentences is the SVO structure, which depends on vocabulary, function words and word order to distinguish sentence components, so the sentence structure is simple, mainly short sentences. The translation of Korean long sentences into Chinese sentence groups can make the translation logical, smooth and accurate.&lt;br /&gt;
&lt;br /&gt;
Eg.7：동식의 이혼에 책임이 없다고 할 수는 없는 형제들이 돈을 모아 동식에게 새집을 지어줬는데 집안 새것이면 뭐 하냐고 동식이 폭력을 휘두를 조짐을 보이자 그 팔아 종류의 폭력을 아버지에게 당해본 엄마는 지레 겁을 먹고 소를 팔아 동식에게 새장가 갈 자금을 쥐여줄 수밖에 없었다.&lt;br /&gt;
First Translation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子。挨过父亲打的母亲因为对东植这种动不动就挥拳头打人的行为心有余悸，并觉得只有新房子没用，就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
Retranslation：掺和东植离婚案的兄弟姐妹们凑钱给东植盖了新房子，母亲因为挨过父亲的打，所以对东植这种动不动就挥拳头打人的行为心有余悸，觉得只有新房子无济于事，改不了他的暴力行为，索性就把牛卖了给东植娶了新媳妇。&lt;br /&gt;
&lt;br /&gt;
The original text Is a long sentence, &amp;quot;는 데&amp;quot; is a long attributive clause, behind the author under the guidance of communicative translation theory, using the translation, in the resolution of a sentence, adjust the structure of the sentence, but his father mother &amp;quot;dragged&amp;quot; compared to read man translationese is too heavy, have the taste of Korean Chinese, is not in conformity with the Chinese expression habit, the author on the basis of this, The translation has been revised and polished to make it smooth and smooth.&lt;br /&gt;
&lt;br /&gt;
'''Cotranslation'''&lt;br /&gt;
Cotranslation refers to the combined translation of two or more sentences in the original text. Using the combined translation method to translate, will reduce the long winded translation, obtain a smooth and smooth translation.&lt;br /&gt;
&lt;br /&gt;
Eg.8 ：나는 큰오빠와 작은오빠가 아버지가 남긴 논을 가져간 것을 알고 있었다. 큰언니, 작은언니가 결혼할 때 밭을 가져 갔다는 것도. 동식은 제 몫이 논도 밭도 아닌 집인 것에 불만을 품고 쓰러져가는 슬레이트집에 불을 질렀다.&lt;br /&gt;
First Translation：我知道大哥和二哥结婚时分走了家里的水田，大姐和二姐结婚时分走了家里的旱地，东植因为分到的不是田和地，而是即将坍塌的的石板屋，一气之下就在屋里放了火。&lt;br /&gt;
Retranslation：哥哥姐姐们结婚时把家里的水田和旱地都分走了。而东植分到的是即将坍塌的的石板屋，他对此很不满，一气之下就放火烧了房子。&lt;br /&gt;
&lt;br /&gt;
Are two sentences in the original, the author first translation, according to the original text translated into two other subject-predicate bin structure of the sentence, but &amp;quot;big sister&amp;quot; &amp;quot;big brother&amp;quot; &amp;quot;sister&amp;quot; &amp;quot;second brother&amp;quot; will be read repetitive, so the author under the guidance of communicative translation theory, adopt the method of r the appellation of original elements became the &amp;quot;brothers and sisters&amp;quot;, and the two sentence elements into a simple sentence, Reduce redundant redundant.&lt;br /&gt;
&lt;br /&gt;
===The embodiment of communicative translation at the rhetorical level===&lt;br /&gt;
Communicative translation theory points out that should take the readers as heavy, compared to convey to the readers the article content, pay more attention to the expression effect, good expression effect can cause the resonance of the readers, caused the reader's thinking, and good expression effect depends on the use of rhetoric, this summary is mainly under the guidance of communicative translation theory, adopt different translation strategies, The rhetorical translation in The Innocent Man and The Goat Family is analyzed.&lt;br /&gt;
&lt;br /&gt;
'''Addition'''&lt;br /&gt;
&lt;br /&gt;
Addition is a translation method that adds content to the target text in order to accurately express the meaning of the source text, meet the needs of the target text readers and make the target text conform to the expression habits of the target language. Since Chinese and Korean have different pragmatic ways and expressive habits, some words or sentences should be added in the translation to make the translation more consistent with the Chinese context, the reader's expressive habits and the exact meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
Eg.9：나는 아이 아빠의 돈을 ‘그깟 돈’이라고 표현했다.&lt;br /&gt;
First Translation：我把孩子爸爸的钱称为“那么点儿钱”。&lt;br /&gt;
Retranslation：我把孩子爸爸给的钱称为“塞牙缝的钱”。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;그깟&amp;quot; is a contraction of &amp;quot;그까짓&amp;quot;. It means so little, so little. The amount of money given by the father of the child is very small. The author under the guidance of communicative translation theory, give full play to the advantages of target language, adopt the method of thickening of translation, the use of metaphor, the &amp;quot;그 깟 돈&amp;quot; translated into accord with the readers expression habit &amp;quot;for all of the money&amp;quot;, making it easy to understand, more intuitive said the little amount, so as to impress the reader.&lt;br /&gt;
&lt;br /&gt;
'''Repetition'''&lt;br /&gt;
&lt;br /&gt;
Repetition refers to the translation technique of appropriately repeating a part of words or sentences in translation. The repetition method can make the meaning of the translation more clear, further strengthen the appeal of the article, highlight the thoughts and feelings of the article, and achieve a good rhetorical effect.&lt;br /&gt;
&lt;br /&gt;
Eg.10：아비를 한번도 찾지 않다가 돈 달라고, 그것도 법정에서 애 얼굴을 봐야 하는 아비 된 자의 참담한 심정을 당신들이 아느냐고.&lt;br /&gt;
First Translation：孩子一次也没来看过我这个父亲，却开口要钱？而且只有上了法院，我才好不容易看孩子一眼，你们理解我这个做父亲的心情和处境吗！&lt;br /&gt;
Retranslation：孩子一次也没来看过我就跟我开口要钱，只有上了法院，我才好不容易看孩子一眼，我这个做父亲的苦楚，悲凉的的心情，你们理解吗！理解吗！&lt;br /&gt;
&lt;br /&gt;
The author by contacting the specific context, as a father, no contact for many years but children themselves to court, the state of mind should be both angry and sad, based on the theory of communicative translation, using the skill of verb repetition, to &amp;quot;알 다&amp;quot; repeated translation, to emphasize my angry tone, in order to make the article more vivid and accurate meaning.&lt;br /&gt;
&lt;br /&gt;
=== conclusion===&lt;br /&gt;
This paper selected the south Korean writer Kong Shanyu stories &amp;quot;well bead film&amp;quot; in the two novel &amp;quot;pure people&amp;quot; and &amp;quot;the goat family&amp;quot; has carried on the translation practice, the two novels are using the simple nature of language and a small amount of dialect vocabulary, shape lifelike characters, are described by family members of the past, let the past and reality contrast, It reflects the social reality that with the development of society, people have become selfish and indifferent, and the most simple family and human feelings seem to be more and more far away from us, so as to explore the history and significance of the &amp;quot;family&amp;quot; and the simple social atmosphere, which are gradually forgotten by Koreans.&lt;br /&gt;
&lt;br /&gt;
The core of Peter Newmark's communicative translation theory is that on the basis of being faithful to the content of the original text, the translator can give full play to the advantages of the target language, get rid of the constraints of the language structure of the original text, and pay attention to the effect of the expression of the target text. According to Newmark's text type, communicative translation theory applies to appeal texts, which focus on the target reader and aim to elicit the desired response, including popular books, popular novels and so on. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. Under the guidance of Peter Newmark's communicative translation theory, the author analyzes and discusses the translation strategies in the Pure Man and The Goat Family, which are complicated sentences, ambiguous meanings and implicit expressions.&lt;br /&gt;
&lt;br /&gt;
From the lexical level analysis, the author mainly combined with the context, to Chinese readers as the center, to comply with the Chinese expression and language habits, consider the reader's understanding ability, on the basis of Chinese used to translation and translation methods of extension, so as to satisfy the to the original readers and the translation of the original dual need of the readers have the same effect, At the same time, it also ensures the accuracy and flexibility of the translation words, so as to conform to the translator's lexical habits.&lt;br /&gt;
From the statement level analysis, &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; appeared in the text of the long sentence and attributive clause, at the same time, some relatively obscure sentences substance, so the author adopted the method of interpretation, syntax and translation of translation strategies, to explain the sentence, split, reorganization, thus reducing the sentence's mad outages and ideographic unclear, The translation is in line with the habits of Chinese readers and effectively conveys the essence of the original text. From the rhetoric analysis, communicative translation theory points out that compared with the content, should attach great importance to the expression of the translation effect, good expression effect depends on the use of rhetoric, so the author USES the translation strategy of work and repetition, has carried on the modification to the original and polishing, to strengthen the artistic effect and influence of the translation, make readers for the characters vivid impression, Arouse readers' reflection and emotional resonance.&lt;br /&gt;
&lt;br /&gt;
Therefore, the results of this study indicate that the communicative translation theory is of guiding significance to the Chinese translation of Korean novels and can provide a reference for similar translation practices. Communicative translation theory is pointed out that to the reader as the center, the translator can get rid of the original text, giving full play to the advantages of target language to adjust the structure and logic, to make the translation easy to understand, but there may be lack of scattering situation, so the translator should properly our subjective initiative, to insure the effect of readers in at the same time, also used to avoid the above situation. In addition, there are also shortcomings in the translation, but the author still hopes that this translation practice can provide reference for the future Korean-Chinese translation practice. At the same time, through this translation practice, the author has realized his own shortcomings. In the future, the author will continue to learn, accumulate practical experience, and strive to improve his literary accomplishment and language foundation, and improve his translation level.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
'''English Literature:'''&lt;br /&gt;
&lt;br /&gt;
[1]. GAO Chang. The Application of Peter Newmark's Communicative Translation Theory to the Translation of Chinese Historical Allusions [J]. Overseas English, 2013(11).&lt;br /&gt;
&lt;br /&gt;
[2]. LI xin, ZHANG zhe. On Peter Newmark’s Semanic Translation &amp;amp; Communicative Translation[J]. Overseas English, 2015（03）.&lt;br /&gt;
&lt;br /&gt;
[3]. JIAN fang. Newmark's Translation Theory and Film Names [J]. Overseas English, 2010(08).&lt;br /&gt;
&lt;br /&gt;
'''Korean literature:'''&lt;br /&gt;
&lt;br /&gt;
[4]. 강영미. 1970-1980 년대 노래운동에 대한 예비적 고찰 [J]. 정신문화연구41(3), 2018.(09).&lt;br /&gt;
&lt;br /&gt;
[5]. 공선옥. 80 년대와 나의 문학 광주,그리고 내인생의 수난기 [J]. 역사비평사,1995(08)&lt;br /&gt;
&lt;br /&gt;
[6]. 김영희. 근대체험과 여성--박완서ㆍ김인숙ㆍ공선옥의 소설 [J]. 창작과비평23(3),1995(09).&lt;br /&gt;
&lt;br /&gt;
[7]. 오순방. 中國 近代의 小說 飜譯과 中韓小說의 雙方向 飜譯 硏究 [J]. 서울 :숭실대학교 출판부,2008.&lt;br /&gt;
&lt;br /&gt;
'''Chinese Literature:'''&lt;br /&gt;
&lt;br /&gt;
[8] 冯庆华.实用翻译教程[M].上海：上海外语教育出版社，2002.&lt;br /&gt;
&lt;br /&gt;
[9] 芒迪（著），李德凤（译）.《翻译学导论：理论与应用》[M].北京：外语教学与研究出版社，2018.&lt;br /&gt;
&lt;br /&gt;
[10] 张敏.《韩国语翻译概论》[M].北京：外语教学与研究出版社，2017.&lt;br /&gt;
&lt;br /&gt;
[11] 蔡萍.纽马克翻译理论浅析[J].电子科技大学学报(社科版)，2009(06)：78-81.&lt;br /&gt;
&lt;br /&gt;
[12] 陈琳.尤金A·奈达和彼得·纽马克翻译理论之比较[J].湘潭大学学报(社会科学版)，1994,(08)：87-91.&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
''Pleasures of Ignorance''; Chinese translation of English prose; translation strategies; translation methods; translation techniques&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
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The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
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There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
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Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. This strategy is &amp;quot;an ethnodeviant pressure on target-language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot; to have alien reading experience. (Venuti, 1995: 20) The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance.&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(2)This ignorance, however, is not altogether miserable.&lt;br /&gt;
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不过，这种无知也并非全然不幸。&lt;br /&gt;
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(3)But your and my ignorance is not confined to cuckoos.&lt;br /&gt;
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但是，你我的无知并不仅限于杜鹃这一方面。&lt;br /&gt;
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(4)A contemporary English novelist was once asked by a foreigner what was the most important crop in England.&lt;br /&gt;
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一个外国人问一位当代英国小说家，英国最重要的农作物是什么。&lt;br /&gt;
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The translation of these sentences, though properly altering the word order and voice with the adherence to the target-language syntactic norms, does not adopt the usage of transferred meaning in dealing with lexical sense.&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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=====Zero-Translation=====&lt;br /&gt;
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Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
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Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
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(5)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one's own ignorance.&lt;br /&gt;
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任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
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(6)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
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Omission of English articles:&lt;br /&gt;
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(7)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
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成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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Omission of pronouns:&lt;br /&gt;
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(8)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
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把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
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The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
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=====Transliteration=====&lt;br /&gt;
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Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
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In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
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(9)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
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Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names. And many long-standing translated names, though not named after the original sounds, have been recognized by the world and are generally invariable. For example, in the translation in case study. For example, in the translation in case study,&lt;br /&gt;
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(10)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
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Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
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The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
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====Translation Methods under Domesticating Strategy====&lt;br /&gt;
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Domestication is a strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target language readers. This strategy is &amp;quot;an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home&amp;quot; (Venuti, 1995: 20). In other words, as regards the use of domesticating strategy, the translators are required to make target-language readers feel familiar and close through conveying the content of the original text with the expressions to which TL readers are accustomed. And in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', free translation method and imitation method under domestication are used and displayed in several translation techniques.&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation, also known as sense-for-sense translation, emphasizes transfer of the meaning or &amp;quot;spirit&amp;quot; of a source text over accurate reproduction of the original wording. The purpose of this method is to accommodate the needs of the target-language readers by producing a text which conforms to the linguistic and textual norms of the target language and culture which does not therefore sound 'foreign&amp;quot; (Shuttleworth &amp;amp; Cowie, 1997: 151). Such a method, in this case study, is specifically embodied in the choice of words packed with Chinese characteristics, that is, diction, also a translation technique. For example,&lt;br /&gt;
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(11)Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is ''the exception''.&lt;br /&gt;
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在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是''凤毛麟角''。&lt;br /&gt;
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(12)It is not that we have not seen the birds. It is simply that we ''have not noticed'' them.&lt;br /&gt;
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所以如此，并不是因为这些鸟我们没有见过，而只是因为我们''习焉不察''。&lt;br /&gt;
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(13)When in the oak’s green arms the cuckoo ''sings'', &lt;br /&gt;
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And first delights men in the ''lovely springs''.&lt;br /&gt;
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杜鹃在橡树的绿色怀抱里''啭啼''，&lt;br /&gt;
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第一个为人们带来''欢欣、美好的春意''。&lt;br /&gt;
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In translating these sentences, the translator transfers some words into vocabulary or phrases with conspicuously Chinese features. For instance, the transfer of &amp;quot;the exception&amp;quot; and &amp;quot;have not noticed&amp;quot; to Chinese idioms &amp;quot;凤毛麟角&amp;quot; (that describes rare and precious items) and &amp;quot;习焉不察&amp;quot; (which means that one is too accustomed to something to call it in questions), respectively, exemplifies the typical Chinese four-character structure. Moreover, the verb &amp;quot;sings&amp;quot; is transferred to &amp;quot;啭啼&amp;quot; (that describes birds' melodious chirp), a Chinese term composed of two words with the same left side, which is one of common and special linguistic phenomena in Chinese language. Meanwhile, &amp;quot;the lovely springs&amp;quot; is transferred to &amp;quot;欢欣、美好的春意&amp;quot; (a joyful and wonderful feeling brought by the spring) through abstraction.&lt;br /&gt;
Thus, it can be seen that the application of free translation can reproduce the sense of the original text more smoothly and idiomatically. And the wide adoption of the four-character structures enhance the academic atmosphere of the translation version.&lt;br /&gt;
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=====Imitation=====&lt;br /&gt;
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With regard to the use of imitation, the translators do not stick to the meaning details of the original text, let alone its vocabulary and syntactic structure, but take the original text as a reference model, either by deleting and condensing to only translate its gist and key information, or by adding and expanding to deliver more information than that in the original text. For instance,&lt;br /&gt;
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(14)Thousands of ''men and women'' ''live and die'' ''without knowing'' the difference between a beech and an elm, between the song of a thrush and the song of a blackbird.&lt;br /&gt;
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成千上万的''男男女女''，''从生到死''，''一辈子''也''说不出''山毛榉和榆树有什么区别，''听不出''画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
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In the translation of this sentence, a variety of translation techniques are employed. &lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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The translator uses conversion to alter the syntactic structure of the original sentence. &lt;br /&gt;
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The predicate &amp;quot;live and die&amp;quot; is converted into the preposition phrase &amp;quot;从生到死&amp;quot; as the adverbial in Chinese.&lt;br /&gt;
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And the adverbial preposition phrase in the source text &amp;quot;without knowing&amp;quot; is converted into the predicate in Chinese translation.&lt;br /&gt;
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②　Division:&lt;br /&gt;
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In accordance with the need of Chinese expression, &amp;quot;without knowing&amp;quot; is divided into two verb phrases &amp;quot;说不出&amp;quot; and &amp;quot;听不出&amp;quot; in Chinese as the predicate.&lt;br /&gt;
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③　Addition:&lt;br /&gt;
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With the addition of the expression &amp;quot;一辈子&amp;quot;, the translator highlights the long time between life and death.&lt;br /&gt;
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④　Repetition:&lt;br /&gt;
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The plural form &amp;quot;men and women&amp;quot; is translated into the reiterative locution &amp;quot;男男女女&amp;quot; by repetition. &lt;br /&gt;
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The change of sentence structure via techniques such as conversion and division as well as of vocabulary via repetition and addition render the translation natural and smooth, showing the translator's superb handling of the original text.&lt;br /&gt;
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(15)...we are all the ''more'' delighted ''at the spectacle of'' its runaway flight as it (the cuckoo) ''hurries'' from wood to wood conscious of its crimes ...&lt;br /&gt;
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一日''看见''它（杜鹃）因为自己犯了罪而''煌惶不安地''从这个林子飞''逃''向那个林子 ... 我们才会觉得''大大''开心。&lt;br /&gt;
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In this example, there are also various translation techniques used.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Firstly, the preposition phrase &amp;quot;at the spectacle of&amp;quot; is converted into the verb &amp;quot;看见&amp;quot; in Chinese. &lt;br /&gt;
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Secondly, the noun phrase &amp;quot;runaway flight&amp;quot; is converted into Chinese verbs &amp;quot;飞&amp;quot; (fly) and &amp;quot;逃&amp;quot; (escape). &lt;br /&gt;
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Besides, the verb &amp;quot;hurries&amp;quot; (that means to move quickly in a particular direction) is converted into &amp;quot;惶惶不安地&amp;quot; (which means to feel panic, afraid and utterly uneasy), a Chinese adverb to modify the verbs &amp;quot;飞&amp;quot; and &amp;quot;逃&amp;quot;, which endows the subject cuckoo with somewhat human characteristic.&lt;br /&gt;
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②　Repetition:&lt;br /&gt;
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The adjective &amp;quot;more&amp;quot; is translated into the reiterative locution &amp;quot;大大&amp;quot;, a Chinese adverb equivalent to &amp;quot;very&amp;quot; or &amp;quot;extremely&amp;quot; in English to modify the adjective &amp;quot;delighted&amp;quot;.&lt;br /&gt;
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In this example, the adjustment of the sentence order and conversion of parts of speech make the translation more consistent with the word sequence in Chinese. Meanwhile, the choice of words such as the Chinese four-character structure &amp;quot;惶惶不安&amp;quot; conveys the romantic charm beyond the original text. And there are also indicators of use of repetition embodied in the typical Chinese reiterative locutions like &amp;quot;惶惶&amp;quot; and &amp;quot;大大&amp;quot;.&lt;br /&gt;
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(16)I have myself a ''capricious'' and ''leaking'' memory.&lt;br /&gt;
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我自己的记忆力也是''漏洞百出''、''不听使唤''。&lt;br /&gt;
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Although this is a short sentence, it still contains the flexible use of translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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At first, the original object &amp;quot;memory&amp;quot; is converted to the subject in the Chinese translation.&lt;br /&gt;
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And then, the subject &amp;quot;I&amp;quot; with its appositive &amp;quot;myself&amp;quot; is converted into the attribute &amp;quot;我自己的&amp;quot; to modify the subject in the translation &amp;quot;记忆&amp;quot;.&lt;br /&gt;
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②　Addition:&lt;br /&gt;
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On account of the conversion of the subject and the verb, the original predicate &amp;quot;have&amp;quot; is inappropriate. The addition of &amp;quot;也是&amp;quot; that is equivalent to the verb &amp;quot;be&amp;quot; in English enforces the completeness of sentence structure. And this is a structural addition mainly due to the structural difference between Chinese and English.&lt;br /&gt;
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③　Diction:&lt;br /&gt;
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The two vivid adjective &amp;quot;capricious&amp;quot; and &amp;quot;leaking&amp;quot; are translated as &amp;quot;不听使唤&amp;quot; and &amp;quot;漏洞百出&amp;quot; respectively which are typical Chinese four-character structures. The Chinese adjective &amp;quot;漏洞百出(的)&amp;quot; means that the loopholes appear one after another, which is often used to describe that one's writing or speech is untenable because of lack of sufficient reasons and grounds. And here, this word shows the author's weak memory with which he forgets things time and again. And the other adjective &amp;quot;不听使唤(的)&amp;quot; generally depicts that someone loses control and is not obedient to the rules or instructions. Here, the word properly demonstrates that the author cannot manipulate his memory well and also cannot preclude it from being weaker. The use of these two words conforms to the choice of affective and stylistic meanings.&lt;br /&gt;
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In this example, the conversion of the subject and object as well as the change of the predicate enable the translation to be more closely accord with the Chinese sentential structure. Moreover, the two figurative adjectives packed with personified traits not only fully  convey the author's intention, but also enhance literariness of the translation and even display a lively mood beyond the original text.&lt;br /&gt;
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(17)We know, again, that, the blossom precedes and ''not succeeds'' the fruit of the apple-tree, but ''this does not lessen our amazement at'' the beautiful holiday of a May orchard.&lt;br /&gt;
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另外，我们知道苹果树''先''开花，''后''结果，可是五月''一旦''到来，果园里一片欢闹的花海。''我们不是仍然惊为奇观吗？''&lt;br /&gt;
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This is a typical example of the imitation method embodied in the use of diverse translation techniques.&lt;br /&gt;
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①　Conversion:&lt;br /&gt;
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Regarding the conversion of word classes, the noun &amp;quot;blossom&amp;quot; is converted into the Chinese verb &amp;quot;开花&amp;quot;.&lt;br /&gt;
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Concerning the conversion of sentence members, the object in the clause &amp;quot;apple-tree&amp;quot; is converted into the subject &amp;quot;苹果树&amp;quot; in the Chinese translation. And the attribute &amp;quot;May&amp;quot; is converted into the adverbial in Chinese as &amp;quot;五月一旦到来&amp;quot;.&lt;br /&gt;
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Considering the conversion of sentence patterns, the negative sentence &amp;quot;this does not lessen our amazement at...&amp;quot; is converted into a interrogative sentence &amp;quot;我们不是仍然惊为奇观吗？&amp;quot;.&lt;br /&gt;
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②　Negation:&lt;br /&gt;
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The negative form &amp;quot;not succeeds&amp;quot; in English is translated into the affirmative form &amp;quot;后结果&amp;quot; in Chinese, intensifying a positive tone on which Chinese language often places emphasis.&lt;br /&gt;
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③　Division:&lt;br /&gt;
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The original complicated sentence in English is divided into several simplex clauses and phrases in Chinese, which underlines the &amp;quot;chronicle style&amp;quot; of Chinese language with frequent use of shorter or composite structures.&lt;br /&gt;
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④　Addition:&lt;br /&gt;
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Now that the original sentence is divided into smaller components, it is necessary to supply connectors for better cohesion. The addition of the logical connectors in Chinese such as &amp;quot;先&amp;quot;, &amp;quot;后&amp;quot;, &amp;quot;一旦&amp;quot; and &amp;quot;仍然&amp;quot; render the translation more smooth and expressive.&lt;br /&gt;
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In this instance, the translator flexibly takes advantage of the techniques such as conversion, negation and division, not only contributing to the diversity of sentence patterns but also adding sense of warmth and vividness of the translation. Additionally, the semantic addition of logical connectors render the translation more cohesive and coherent.&lt;br /&gt;
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(18)Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields.&lt;br /&gt;
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那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我''目不暇接''，''心迷神醉''。&lt;br /&gt;
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As regards this example, the translator enriches the meaning of the original text and creates a more balmy atmosphere by employing various translation techniques.&lt;br /&gt;
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①　Division:&lt;br /&gt;
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The long complex sentence, composed of two clauses, is divided into several separated clauses in arranged in a certain order, which renders the translation rhythmic and highlights the focus of expression.&lt;br /&gt;
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②　Addition:&lt;br /&gt;
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The addition of the Chinese set phrase &amp;quot;目不暇接&amp;quot; (which means that so many wonderful things and so swift change of scenery come into sight that the eyes are kept fully occupied) makes the context more coherent, as it echoes &amp;quot;see&amp;quot; and &amp;quot;the eyes&amp;quot; in the preceding and connects the &amp;quot;painted fields&amp;quot; in the following that greet the author's eyes and take his breath away.&lt;br /&gt;
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③　Diction:&lt;br /&gt;
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The verb &amp;quot;see&amp;quot; is translated into &amp;quot;放眼四望” (to look around), the noun phrase &amp;quot;breath taken away with surprise&amp;quot; into &amp;quot;心醉神迷&amp;quot; (to be thrown into ecstasies), and the adjective &amp;quot;painted&amp;quot; into &amp;quot;五彩缤纷&amp;quot; (colorful). These recurring four-character structures in translation are loaded with positive meanings, and proper to depict the attractive scenery and to be used in scholar prose.&lt;br /&gt;
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④　Conversion:&lt;br /&gt;
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The original clause &amp;quot;my breath taken away with surprise by the painted fields&amp;quot; is in passive voice, and is converted into the active voice in Chinese translation &amp;quot;五色缤纷的原野再一次使我目不暇接，心迷神醉&amp;quot;. This kind of conversion is due to the fact that the Chinese passive form marked by &amp;quot;被&amp;quot; is traditionally felt to be an &amp;quot;inflictive voice&amp;quot;, mainly expressing things unpleasant or undesirable, contrasted with the cheerful aura overflowing the original text. &lt;br /&gt;
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The translator employs short clauses separated from the original complex sentence to  bestow smoothness and naturalness on the translation and strengthen its artistic appeal. Furthermore, the translator selects the words that tally with the affective, contextual and stylistic meanings of the original. And the opportune addition of words and change of voice also polish the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This paper makes an analysis of translation strategies and translation methods in English prose, with translator Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' created by Robert Lynd as an example. With translation strategies and methods as the starting point, this paper considers Chinese translation of English prose as the research subject. The paper first introduces English prose along with its distinctive properties, linguistics features and principles of its translation. And then this paper carries out the interpretation of translation strategies and methods in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'' in which the application of translation methods as well as techniques under foreignizing and domesticating strategies are elaborated, and the concrete effects they exert are also elucidated.&lt;br /&gt;
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====Major Findings====&lt;br /&gt;
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Based on the above study of translation strategies and methods employed in Liu Bingshan's Chinese translation of ''Pleasures of Ignorance'', the features or common ground of Chinese translation of English prose in terms of translation strategies and methods can be generally summarized.&lt;br /&gt;
&lt;br /&gt;
In Chinese translation of English prose, foreignization strategy and domestication strategy are both used in the light of the style, linguistic features, and syntactic structures of the source text.&lt;br /&gt;
&lt;br /&gt;
But, on the whole, the domesticating translation strategy which includes translation methods such as free translation and imitation is applied more frequently compared with foreignization. This is because that prose translation actually falls into literary translation that is special on the grounds of the unique characteristics of the original literary works. In literary works, or specifically, in English prose, some words are not used with their literal meanings but their connotative or extension meanings, so literal translation under foreignization may not correctly convey the real significance of the original text. Meanwhile, in English prose, there are complex syntactic structures whose translation cannot be carried out with no proper conversion and alteration. Additionally, multiple rhetoric devices such as metaphor, metonymy and allusion are used in English literary works, and the literal translation of these figures of speech may elude the target-language readers because of the cultural differences and the obscurity of the translation. However, the appropriate adoption of translation methods under domestication strategy, to some extent, can give the target-language readers a sense of closeness and deliver the aesthetic charm with the premise that the real meaning of the original text can be ensured.&lt;br /&gt;
&lt;br /&gt;
In terms of translation methods under foreignizing strategy, literal translation is used when the lexical meaning of the source text is lucid and the syntactic structures in it are relatively simple and clear, so the translators need not find a new path in the mode of expression in order to be faithful to the source text. And the use of literal translation can convey the information more objectively and avoid the interference of translators' subjective factors. Meanwhile, in Chinese translation of English prose, the use of zero-translation is frequent but imperceptible, with the omission of some words peculiar to English, such as expletives it and there, English articles and pronouns, but sometimes the English pronouns can also be retained to show a sense of closeness and friendliness. Besides, transliteration is used for the translation of proper nouns and technical terms not only in English prose but also in almost all text types, with conforming to the principles of being named after the original sound and of the translated names accepted through common practice. In a word, translation methods under foreignization can ensure the objective conveyance of information of the original text and preserve its foreignness and unique cultural values that can enrich the target-language readers' knowledge and their languages.&lt;br /&gt;
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With regard to translation methods under domesticating strategy, in Chinese translation English prose, free translation and imitation method are oftentimes employed. English prose, as one of the English literary genres, boasts distinctive features of literature, such as aesthetic value, language with hidden meanings and the usual use of figures of speech as well as culturally loaded images, which may not be shown vividly and be easily understood by target-language readers via literal or word-for-word translation. Thus, translation methods under domestication, with careful choice of words, proper adjustment of syntactic structures and sentence sequence, and appropriate sublimation of the original text, can express the original author's feelings more lively, render the translation more fluent, idiomatic and expressive, and display the aesthetic charm of the source text.&lt;br /&gt;
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At the lexical level, in Chinese translation of English prose, the translation techniques --- diction, addition, conversion and repetition --- are usually used. The typical Chinese four-character structures appear time from time in Chinese translation, and the translators choose the words in line with the affectionate, contextual and stylistic meanings of the original prose, which intensify literariness and satisfy the characteristics of scholar prose. Moreover, the addition of Chinese conjunctive words and logical connectors by which sentences in translation are connected into a text can create better cohesion. Furthermore, the conversion of word classes in translation is based on the contrastive studies of English and Chinese, viz., English with its nominal style is static whereas Chinese with its verbal style is dynamic. Besides, it is one of the peculiarities of Chinese to reduplicate characters or words in word-formation and to repeat the similar or same word or expression in a discourse for expressiveness and parallelism, which can render translation more appealing to Chinese readers and produce rhetorical and grammatical effect.&lt;br /&gt;
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At the syntactic level, the translation techniques --- conversion and division--- are often employed in Chinese translation of English prose. To start with, conversion in the syntactic respect involves conversions of sentence members, sentence patterns and the voice. The conversion of word classes often results in the conversion of sentence members, and the alteration of sentences patterns like the inter-conversion between assertive or negative sentences and question sentences can variegate sentence types in translation. The conversion of passive voice in English prose into active voice in Chinese translation is due to the preference for active forms that can produce positive effect in Chinese language. What's more, part of sentences in English prose are longer and complicated because of subordination, a fundamental feature of English, and it may be hard to reproduce the original thought with following the original sentence structure in translation, hence the division of complex English sentences into word-groups, clauses or simplex sentences in Chinese can endow Chinese translation of English prose with more naturalness, fluency and sense of rhythm.&lt;br /&gt;
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The research on the features of translation strategies and methods in Chinese translation of English prose, theoretically can offer a deeper insight into English prose and its translation, and practically can help to some extent improve the quality of Chinese translation of English prose.&lt;br /&gt;
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====Limitations and Suggestions====&lt;br /&gt;
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There are drawbacks in this paper: firstly, the paper takes only one piece of English prose as an example in case study, so it lacks strong persuasiveness; secondly, since there are few researchers on prose translation at home and abroad, especially those specializing in Chinese translation of English prose, this paper resorts to insufficient literature guidance and reference; thirdly, owing to the confined conditions and narrow academic capacity, this paper is devoid of enough depth and breadth as well as favorable insight and acuity, thus the theoretical support and practical assistance it provides are bound to be limited. As a consequence, it is expected that researchers in this field can cooperate well to build up a system to minimize the possible errors and create more thorough and holistic works to enunciate and improve Chinese translation of English prose.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1] Lawrence Venuti. Rethinking Translation: Discourse, Subjectivity, Ideology [C]. London and New York: Routledge, 1992: 5-20.&lt;br /&gt;
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[2] Lawrence Venuti. The Translator's Invisibility: A History of Translation [M]. 上海: 上海教育出版社, 2004: 7-25.&lt;br /&gt;
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[3] Mark Shuttleworth. Moira Cowie. Dictionary of Translation Studies [M]. London and New York: Routledge, 2014: 59-163.&lt;br /&gt;
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[4] 方梦之. 中国译学大辞典 [M]. 上海: 上海教育出版社, 2011: 96-118.&lt;br /&gt;
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[5] 侯强. 英语散文汉译策略研究 --- 以“韩素音青年翻译奖”参赛文本为例 [D]. 厦门: 厦门大学, 2014.&lt;br /&gt;
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[6] 何秀琴. 期待视角下的英语散文汉译研究 --- 以《散文佳作108篇》 为例 [D]. 南昌: 南昌大学, 2018.&lt;br /&gt;
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[7] 连淑能. 英译汉教程 [M]. 北京: 高等教育出版社, 2006: 67-262,&lt;br /&gt;
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[8] 宋颉. 翻译美学视角下的民国散文英译风格研究 [D]. 上海: 上海外国语大学, 2018.&lt;br /&gt;
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[9] 熊兵. 翻译研究中的概念混淆 [J]. 中国翻译, 2014(3): 82-88.&lt;br /&gt;
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[10] 张保红. 文学翻译 [M]. 北京: 外语教学与研究出版社, 2011: 28-88.&lt;br /&gt;
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[11] 朱明炬. 英汉名篇名译 [M]. 南京: 译林出版社, 2007: 319-328.&lt;br /&gt;
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===Appendix===&lt;br /&gt;
&lt;br /&gt;
(The original text:)&lt;br /&gt;
&lt;br /&gt;
The Pleasures of Ignorance&lt;br /&gt;
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By Robert Lynd&lt;br /&gt;
&lt;br /&gt;
It is impossible to take a walk in the country with an average townsman—especially, perhaps, in April or May—without being amazed at the vast continent of his ignorance. It is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance. Thousands of men and women live and die without knowing the difference between a beech and an elm, between the song of a thrush and the song of a blackbird. Probably in a modern city the man who can distinguish between a thrush's and a blackbird's song is the exception. It is not that we have not seen the birds. It is simply that we have not noticed them. We have been surrounded by birds all our lives, yet so feeble is our observation that many of us could not tell whether or not the chaffinch sings, or the colour of the cuckoo. We argue like small boys as to whether the cuckoo always sings as he flies or sometimes in the branches of a tree-whether Chapman drew on his fancy or his knowledge of nature in the lines:&lt;br /&gt;
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When in the oak's green arms the cuckoo sings, &lt;br /&gt;
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And first delights men in the lovely springs.&lt;br /&gt;
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This ignorance, however, is not altogether miserable. Out of it we get the constant pleasure of discovery. Every fact of nature comes to us each spring, if only we are sufficiently ignorant, with the dew still on it. If we have lived half a lifetime without having ever seen a cuckoo, and know it only as a wandering voice, we are all the more delighted at the spectacle of its runaway flight as it hurries from wood to wood conscious of its crimes and at the way in which it halts hawk-like in the wind, its long tail quivering, before it dares descend on a hillside of fir-trees where avenging presences may lurk. It would be absurd to pretend that the naturalist does not also find pleasure in observing the life of the birds, but his is a steady pleasure, almost a sober and plodding occupation, compared to the morning enthusiasm of the man who sees a cuckoo for the first time, and, behold, the world is made new.&lt;br /&gt;
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And, as to that, the happiness even of the naturalist depends in some measure upon his ignorance,which still leaves him new worlds of this kind to conquer. He may have reached the very Z of knowledge in the books, but he still feels half ignorant until he has confirmed each bright particular with his eyes. He wishes with his own eyes to see the female cuckoo—rare spectacle!—as she lays her egg on the ground and takes it in her bill to the nest in which it is destined to breed infanticide. He would sit day after day with a field-glass against his eyes in order personally to endorse or refute the evidence suggesting that the cuckoo does lay on the ground and not in a nest.And, if he is so far fortunate as to discover this most secretive of birds in the very act of laying, there still remain for him other fields to conquer in a multitude of such disputed questions as whether the cuckoo’s egg is always of the same colour as the other eggs in the nest in which she abandons it. Assuredly the men of science have no reason as yet to weep over their lost ignorance. If they seem to know everything, it is only because you and I know almost nothing. There will always be a fortune of ignorance waiting for them under every fact they turn up. They will never know what song the Sirens sang to Ulysses any more than Sir Thomas Browne did.&lt;br /&gt;
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If I have called in the cuckoo to illustrate the ordinary man's ignorance, it is not because I can speak with authority on that bird. It is simply because, passing the spring in a parish that seemed to have been invaded by all the cuckoos of Africa, I realized how exceedingly little I, or anybody else I met, knew about them. But your and my ignorance is not confined to cuckoos. It dabbles in all created things, from the sun and moon down to the names of the flowers. I once heard a clever lady asking whether the new moon always appears on the same day of the week. She added that perhaps it is better not to know, because, if one does not know when or in what part of the sky to expect it,its appearance is always a pleasant surprise. I fancy, however, the new moon always comes as a surprise even to those who are familiar with her time-tables. And it is the same with the coming-in of spring and the waves of the flowers. We are not the less delighted to find an early primrose because we are sufficiently learned in the services of the year to look for it in March or April rather than in October. We know, again, that, the blossom precedes and not succeeds the fruit of the apple-tree, but this does not lessen our amazement at the beautiful holiday of a May orchard.&lt;br /&gt;
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At the same time there is, perhaps, a special pleasure in relearning the names of many of the flowers every spring. It is like rereading a book that one has almost forgotten. Montaigne tells us that he had so bad a memory that he could always read an old book as though he had never read it before. I have myself a capricious and leaking memory. I can read Hamlet itself and The Pickwick Papers as though they were the work of new authors and had come wet from the press, so much of them fades between one reading and another. There are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy. But this is only when life has an object beyond entertainment. In respect of mere luxury, it may be doubted whether there is not as much to be said for a bad memory as for a good one. With a bad memory one can go on reading Plutarch and The Arabian Nights all one's life. Little shreds and tags, it is probable, will stick even in the worst memory, just as a succession of sheep cannot leap through a gap in a hedge without leaving a few wisps of wool on the thorns. But the sheep themselves escape,and the great authors leap in the same way out of an idle memory and leave little enough behind.&lt;br /&gt;
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And, if we can forget books, it is as easy to forget the months and what they showed us, when once they are gone. Just for a moment I tell myself that I know May like the multiplication table and could pass an examination on its flowers, their appearance and their order. Today I can affirm confidently that the buttercup has five petals. (Or is it Six? I knew for certain last week.) But next year I shall probably have forgotten my arithmetic, and may have to learn once more not to confuse the buttercup with the celandine. Once more I shall see the world as a garden through the eyes of a stranger, my breath taken away with surprise by the painted fields. I shall find myself wondering whether it is science or ignorance which affirms that the swift (that black exaggeration of the swallow and yet a kinsman of the humming-bird) never settles even on a nest, but disappears at night into the heights of the air. I shall learn with fresh astonishment that it is the male, and not the female,cuckoo that sings. I may have to learn again not to call the champion a wild geranium, and to rediscover whether the ash comes early or late in the etiquette of the trees. A contemporary English novelist was once asked by a foreigner what was the most important crop in England. He answered without a moment's hesitation: &amp;quot;Rye&amp;quot;. Ignorance so complete as this seems to me to be touched with magnificence; but the ignorance even of illiterate persons is enormous. The average man who uses a telephone could not explain how a telephone works. He takes for granted the telephone, the railway train, the linotype, the aeroplane, as our grandfathers took for granted the miracles of the gospels. He neither questions nor understands them. It is as though each of us investigated and made his own only a tiny circle of facts. Knowledge outside the day's work is regarded by most men as a gewgaw. Still we are constantly in reaction against our ignorance. We rouse ourselves at intervals and speculate. We revel in speculations about anything at all—about life after death or about such questions as that which is said to have puzzled Aristotle, &amp;quot;why sneezing from noon to midnight was good, but from night to noon unlucky.&amp;quot; One of the greatest joys known to man is to take such a flight into ignorance in search of knowledge. The great pleasure of ignorance is, after all, the pleasure of asking questions. The man who has lost this pleasure or exchanged it for the pleasure of dogma, which is the pleasure of answering, is already beginning to stiffen. One envies so inquisitive a man as Jowett, who sat down to the study of physiology in his sixties. Most of us have lost the sense of our ignorance long before that age. We even become vain of our squirrel’s hoard of knowledge and regard increasing age itself as a school of omniscience. We forget that Socrates was famed for wisdom not because he was omniscient but because he realized at the age of seventy that he still knew nothing.&lt;br /&gt;
&lt;br /&gt;
(Liu Bingshan's Chinese translation:)&lt;br /&gt;
&lt;br /&gt;
无知常乐&lt;br /&gt;
&lt;br /&gt;
刘炳善 译&lt;br /&gt;
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同一个普通的城里人到乡下去走一走，特别是在四月或五月里，那么。对他的无知范围之广阔，就不能不感到惊奇。任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。在一个现代化城市里，能听得出画眉和山乌鸦叫声不同的人，恐怕是凤毛麟角。所以如此，并不是因为这些鸟我们没有见过，而只是因为我们习焉不察。在我们一生中，鸟类始终就在我们周围，然而我们对于它们的观察总是那样马马虎虎，所以我们当中许多人都说不清花鸡到底会不会知，也不知道杜鹃究竟是什么颜色。对于有些问题、我们像小孩子一样争论不休、譬如说，杜鹃在飞着或栖身于树枝间的时候，是否一直不停地鸣，而查普曼下面两行诗的灵感究竟是来自他的想像还是来自他的自然知识∶&lt;br /&gt;
&lt;br /&gt;
杜鹃在橡树的绿色怀抱里啭啼，&lt;br /&gt;
&lt;br /&gt;
第一个为人们带来欢欣、美好的春意。&lt;br /&gt;
&lt;br /&gt;
不过，这种无知也并非全然不幸，因为正是由于它，我们才能不断尝到发现的乐趣。只要我们是的的确确地无知，那么每年大地春回，自然界的每一种事物都会带着它那清新的露珠重新出现在我们面前。如果我们活了半辈子，对于杜鹃除了听过它那飘忽不定的叫声，从来没有见过它是什么模样，那么，一日看见它因为自己犯了罪而煌惶不安地从这个林子飞逃向那个林子。或是看见它顶着风、像老鹰似的停留在半空中，它那长长的尾巴颤动着，不敢落下来，生怕有什么鸟儿藏在那山坡上的枞树林里等着要找它报仇。我们才会觉得大大开心。有人想着，博物学家整天观察鸟类，大概就不会觉得有什么趣儿了吧？其实大谬不然--他那持续不断的乐趣几平已经变成一种安详的职业习惯了，不像有人某天早晨突然第一次看见一只杜鹃，不胜雀跃之至，于是，看哪，天地也为之焕然一新了。&lt;br /&gt;
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说到这儿，甚至连博物学家的快乐在一定程度上也有赖于自己的无知；只有如此。才能给他留出一些新的领域有待他去征服。即使他已经攀登了书本知识的顶峰，他仍会感到自己不过是半通不通，每一个引人注目的细节还必须用自己的亲眼观察来加以一一证实。他盼着能亲眼看到雌杜鹃（这可是个稀罕物儿！）把蛋下到地面上。然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。因此，博物学家就要戴上望远镜，日复一日地坐在那里等待着亲眼证实或者否定那种认为杜鹃确实是在地面上而非在窠里下蛋的说法。而日，即使他很幸运，能够发现杜鹃下蛋实况，这个在鸟类来说算是极大的秘密，其他一大批有争议的问题还依然存在。就像新的领土有待他去开拓，例如，杜鹃的蛋跟它占用的窠里其他鸟的蛋是否总是一样颜色？自然，科学家没有理由为了自己失去无知而哭泣。如果他们看起来似乎是精通一切的话，那也不过因为你我差不多是一无所知罢了。实际上，当他们要把一件事实的盖子揭开的时候，某种命定的无知就在等待着他们。海妖们向尤利塞斯唱的究竟是什么歌儿？——他们永远不可能知道，正像托马斯·勃朗爵士也不知道一样。&lt;br /&gt;
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我请杜鹃来做例子以说明普通人的无知，并不是因为我有什么权威可以对这种鸟儿发发议论。不过，我曾在某个教区暂住，而那年春天从非洲飞来的杜鹃似乎全集合在那个地方，因此我也就有机会了解到我自己以及我所碰见的每一个人对于这种鸟儿的知识是如何地微不足道。但是，你我的无知并不仅限于杜鹃这一方面。它涉及到宇宙万物，从太阳、月亮一直到花卉的名字。有一天，我听见一位聪明伶俐的太太提出了这样一个问题∶新月是不是总在星期几露面？她接着又说：不知道倒好，正因为人不知道在什么时候、在天空的哪一带能看见它，新月一出现才给人带来一场惊喜。然而我想、哪怕入把月亮盈亏时间表记得再熟。看见新月出现还是不免又惊又喜，春回大地，花开花落，也莫不如此。尽管我们对一年四季草本节令了如指掌，知道樱草开花在三月四月而不在十月，不过看见一株早开花的樱草，我们还是照样地高兴。另外，我们知道苹果树先开花，后结果，可是五月一旦到来，果园里一片欢闹的花海。我们不是仍然惊为奇观吗？&lt;br /&gt;
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倘在每年春天，把许多花卉之名重温一遍，还另有一番风味。那就像把一本差不多忘得干干净净的书再重新念一遍。蒙田说过，他的记忆力很坏，所以他随时都能拿起一本旧书，像从未读过的新书一样地念。我自己的记忆力也是漏洞百出、不听使唤。我甚至能拿起《哈姆雷特》和《匹克威克外传》，当作是初登文坛的新作家刚刚印成白纸黑字的作品来念，因为自从上回念过以后，这两部书在我脑子里的印象已经模模糊糊了。这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。不过，在这种时候，人不仅想得到娱乐，还追求着什么目的。如果只讲享受的话，记忆力坏比记忆力好究竟差到哪里去，还真是大可怀疑哩。记忆力坏的人可以一辈子不断地念普卢塔克的《英雄传》和《天方夜谭》，而永远感到新鲜。很可能，最坏的记忆力也难免粘粘连连地留下一星半点的印象，恰如一只只绵羊从篱笆洞里接连通过，总不免在那刺条上留下一丝半缕的羊毛。然而，绵羊终归逃出去了，正像伟大的作家从我们不争气的记忆中消失。所留下的东西简直微不足道。&lt;br /&gt;
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既然读过的书我们可以忘得一干二净，那么一年十二个月以及每个月的风物，一旦时过境迁。我们同样可以轻而易举地把它们忘在脑后。在某个短暂时刻，我可以说自己对于五月就像对于乘法表那样熟悉，关于五月里的花木、开花时间乃至前后次序，我能通过考试。今天，我就敢肯定金凤花有五瓣。（难道是六瓣吗？上个礼拜我还记得清清楚楚来着。）可是，到了明年，我也许连算术也忘个干干净净;我得从头学起，以免把金凤花误认成白屈菜。那时，我像一个陌生者进人大花园，放眼四望，五色缤纷的原野再一次使我目不暇接，心迷神醉。那时，我也许要对这么一个问题拿不定注意，就是; 认为雨燕（那种简直像大号小燕子、又和蜂鸟沾点儿亲戚的黑鸟儿）从来不在窠里歇着，一到夜里就飞向高高的天空，到底是一种科学论断，还是一种无知妄说？当我知道了会唱歌的并不是雌杜鹃，而是雄杜鹃。我还要再次感到惊讶。我得重新学习，以免把剪秋罗当作野大竺葵；还要去重新发现白杨在树木生长的习惯法中究章算是早成材还是晚成材。某天。一个外国人问一位当代英国小说家，英国最重要的农作物是什么。他毫不犹豫地回答：“稞麦。”在我看来，这是一种堂而皇之派头的彻头彻尾的无知；不过，大大无知的也包括那些没有文化的人。普通人只会使用电话，却无法解释电话的工作原理。他把电话、火车、铸造排字机、飞机都看作当然之事，就像我们的祖父一代把福音书里的奇迹故事视为理所当然一样。对于这些事，他既不去怀疑，也不去了解。我们每个人似乎只对很小范围内的某几件事才真正下工夫去了解、弄清楚。大部分人把日常工作以外的一切知识统统当作花哨无用的玩意儿。然面，对于我们的无知，我们还是时时抗拒着，我们}有时振作起来，进行思索。我们随便找一个什么题目，对之思考，甚至入迷——关于死后的生命，或者关于某些据说亚里士多德也感到大惑不解的问题，例如“打喷嚏，从中午到子夜则吉，从夜晚至中午则凶，其故安在？”为求知识而陷入无知，这是人类所欣赏的最大乐事之一。归根结底，无知的极大乐趣即在于提出问题。一个人，如果失去了这种提问的乐趣，或者把它换成了教条的答案，并且以此为乐，那么，他的头脑已经开始僵化了。我们羡慕像裘伊特这样勤学好问之人，他到了六十多岁居然还能坐下来研究生理学。我们多数人不到他这么大的岁数就早已丧失了自己无知的感觉了。我们甚全像松鼠似的对自己小小的知识储存感到沾沾自喜，把与日俱增的年龄看作是培养无所不知的天然学堂。我们忘记了∶苏格拉底之所以以智慧名垂后世，并非因为他无所不知，而是因为他到了七十高龄还能明白自己仍然一无所知。&lt;br /&gt;
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=5 毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019 =&lt;br /&gt;
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==Chapter 6: An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''==&lt;br /&gt;
'''浅析对比《巴黎的忧郁》两个汉译本的翻译风格'''&lt;br /&gt;
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彭瑞雪 Peng Ruixue 202120081517 法语语言文学专业, Hunan University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
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从20世纪初以来，对波德莱尔这位“恶魔诗人”的作品的译介就源源不断，《巴黎的忧郁》是波德莱尔除了《恶之花》之外的另一部经典作品。亚丁译本与怀宇译本认为《巴黎的忧郁》是散文，钱春绮、邢鹏举和郭宏安则译之为散文诗。翻译立足点的不同必然会导致译本的差异。本文将选取《巴黎的忧郁》的亚丁译本和郭宏安译本，结合刘宓庆的翻译风格论，从翻译风格的角度对两个译本进行分析对比，从而对《巴黎的忧郁》的主旨和思想有进一步了解和体会，对郭宏安、亚丁两位译者的文学翻译观有进一步把握, 并对刘宓庆的翻译风格理论的适用性有进一步思考。	&lt;br /&gt;
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Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
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Translation Styles, ''Le Spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
翻译风格，巴黎的忧郁，郭宏安，亚丁&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
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Firstly, the first part of this paper will provide a brief introduction to Liu Miqing's theory of translation style. Next, in the second part, we will analyse and compare the register markers and lexical markers of the two translations from the perspective of formal markers by selecting a number of prose or prose poems from ''Le Spleen de Paris'' according to the form and content of the text, discussing the two translators' grasp of the style of the original text, Guo Hong'an and Yadin, and then be able to grasp the differences between the translation styles of the two translations. Finally, in the third part, we start from the perspective of the non-formal markers and analyse the translators' approach and techniques in handling the translation, as well as the ideological and emotional aspects of the translation, in order to grasp the translation styles of the two translations in general. Thereby, we expect to gain a further appreciation of the main idea and thought of Melancholy in Paris, a better understanding of Ya Ding's and Guo Hong'an's views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
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==Liu Miqing’s theory of translation style==&lt;br /&gt;
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Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable” (Liu Miqing 2005:240)#. In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective” (Liu 2005:249)#. The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
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Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
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In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’” (Liu 2005:261)#. The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
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==Form Markers==&lt;br /&gt;
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According to the form and content of the chapters, we have selected two proses or prose poems from ''Le Spleen de Paris'' as a foundation for a specific analysis and comparison of the translation styles of the two texts. L’Étranger, a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” Chacun sa chimère, a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general.&lt;br /&gt;
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===Register Markers===&lt;br /&gt;
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“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features” (Liu 2005:242)#. From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
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The title ''L’Étranger'' is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem The night of the New Year’s Eve (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
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'''Eg. (a)'''&lt;br /&gt;
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Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
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Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
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Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
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Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
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Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
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This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
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===Lexical Markers===&lt;br /&gt;
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Lexical markers indicate the author’s idiolect (Liu 2005:243)#. First, we need to distinguish between lexical markers and register markers. On the surface, these two perspectives seem similar, as they both relate to “words”. But in fact “idiolect” and “register” are not the same. The former is personal and refers mainly to one's habits of using words, for example, to use words more easily or more elegantly, to use certain adjectives or adverbs, or to use participles. The latter, however, is “social in a different way” (Liu 2005:243)#. The difference between Guo Hong’an’s more “elegant” and Aden’s more “vulgar” diction, as we have just mentioned, is in fact based on the positioning of the text. In a general sense, what kind of words should be used in written language? What kind of words should be used in oral language? They are not based on subjective conventions, but on the rules of the language, the conventions of social usage, and the use of words in a broader sense. But in addition, it is important to note that “idiolect is also highly related to the style and subject matter of the work (Liu 2005:245)#”, and on this level, lexical markers and register markers are again connected. For example, Guo Hong’an translates ''Le Spleen de Paris'' as a prose poem, while Ya Ding translates it as a prose text, and thus there is a difference in the diction of the two translators. In conclusion, after analysing the register markers, through the lexical marker analysis and comparing Guo Hong’an’s and Ya Ding’s translations, we can know the diction habits of the two translators and thus further understand their respective translation styles and the differences between them.&lt;br /&gt;
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'''Eg. (b)'''&lt;br /&gt;
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Original text：Je questionnai l’un de ces hommes, et je lui demandai où ils allaient ainsi.&lt;br /&gt;
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Guo’s translation：我问其中一个人，他们这是往哪里去。&lt;br /&gt;
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Ya’s translation：我向其中一个人询问，他们这样匆忙是向哪里去。&lt;br /&gt;
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The first half of the original French sentence “Je questionnai l’un de ces hommes” is a subject-predicate object construction, and both Guo’s translation and Ya’s translation are verb-predicate statements, but Ya’s translation changes the structure by placing the object between the subject and the predicate, as “向其中一个人”. Guo simply translates “ainsi” as “这”, while Ya adds an adverb and tranlates it as “这样匆忙” , which makes the picture of the text more concrete.&lt;br /&gt;
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Original text：Il me répondit qu’il n’en savait rien, ni lui, ni les autres ;&lt;br /&gt;
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Guo’s translation：他回答我说，他一无所知，他，别人，都一无所知；&lt;br /&gt;
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Ya’s translation：他回答我说，他也一无所知；不但他，别人也不知道。&lt;br /&gt;
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In this sentence, for “il n’en savait rien”, Guo translates it straightforwardly as “他一无所知”, while Yah adds the adverb “也”: “他也一无所知”. In the original French, “ni lui, ni les autres” is a negative parallelism, which Guo translates as a parallelism “他，别人”, while Ya adds a correlative to indicate a progressive relationship “不但……也……”.&lt;br /&gt;
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Original text：Tous ces visages fatigués et sérieux ne témoignaient d’aucun désespoir ; sous la coupole spleenétique du ciel, les pieds plongés dans la poussière d’un sol aussi désolé que ce ciel, ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours.&lt;br /&gt;
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Guo’s translation：这些疲惫而严肃的面孔没有表现出任何的绝望；在这阴郁的苍穹下， 他们的脚陷入和天空一样愁惨的大地的尘土中，带着注定要永远希望的人的无可如何的神情，走着。&lt;br /&gt;
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Ya’s translation：在这些疲惫而严肃的面孔上，没有一张表现出绝望的神情。在这阴郁的苍穹下，大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中，脸上呈现着无可奈何的，被注定要永远地希望下去的神情。&lt;br /&gt;
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The first third of the original French sentence “Tous ces visages fatigués et sérieux ne témoignaient d'aucun désespoir&amp;quot; is a common subject-verb-object construction, with the subject and object being &amp;quot;visages, témoignaient, désespoir&amp;quot;. Guo's translation is similar, with &amp;quot;faces, expressions, despair&amp;quot; and he translates &amp;quot;tous...ne&amp;quot; as &amp;quot;没有&amp;quot;. The Ya’s translation, however, splits the entire sentence in two, changing the sentence type to a gerund followed by a subject-verb-object, translating &amp;quot;tous...ne&amp;quot; as &amp;quot;没有一张&amp;quot;.&lt;br /&gt;
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In the second third of the sentence, Ya Dang's translation is clearly more fragmented and has more clauses than Guo's, showing the loose structure of prose sentences, while Guo's translation has more whole sentences and a more compact sentence structure, using more determiners before nouns. For example, for &amp;quot;les pieds plongés dans la poussière d'un sol aussi désolé que ce ciel&amp;quot;, Guo adds two definite articles before &amp;quot;尘土&amp;quot;, Guo adds the definite article &amp;quot;和天空一样惨淡的&amp;quot; and &amp;quot;大地的&amp;quot;. For &amp;quot;ils cheminaient avec la physionomie résignée de ceux qui sont condamnés à espérer toujours&amp;quot;, Guo translates the noun “神情” which is preceded by three &amp;quot;的&amp;quot;, &amp;quot;带着注定要永远希望的&amp;quot; modifies &amp;quot;人&amp;quot;, &amp;quot;带着注定要永远希望的人的&amp;quot; and &amp;quot;无可如何的&amp;quot; modifying “神情”; and &amp;quot;cheminaient&amp;quot; is singled out and placed at the end of the sentence, translated as &amp;quot;走着&amp;quot;. This is a very subtle way of structuring the sentence. &amp;quot;The word &amp;quot;走&amp;quot; is the central action of the sentence, and all the other components are describing the environment and scene of this &amp;quot;走&amp;quot;. The &amp;quot;走着，&amp;quot; alone at the end not only serves to reinforce the central content of the sentence, but also reinforces the atmosphere of the setting it presents. In a miserable, grey and heavy atmosphere, the people do nothing else but walk, however, this monotonous and repetitive action does not cause them to feel helpless and irritated, instead they all look with an eternal hope. The two characters “走着” alone give the reader a great sense of contrast and impact. The Ya’s translation, however, disrupts the order of the entire sentence and cuts it into many small phrases, putting &amp;quot;cheminaient&amp;quot; ahead-- &amp;quot;大地也像天空一样令人忧伤，他们行走着，脚步陷入尘土中&amp;quot;. There are two &amp;quot;的&amp;quot; before &amp;quot;神情&amp;quot;, but he separates the two determiners with a comma, &amp;quot;可奈何的，被注定要永远地希望下去的&amp;quot;.&lt;br /&gt;
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Original text：Et le cortège passa à côté de moi et s’enfonça dans l’atmosphère de l’horizon, à l’endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain.&lt;br /&gt;
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Guo’s translation：行者的队伍从我身边走过，没入天际，地球圆形的表面遮住了人们好奇的目光。&lt;br /&gt;
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Ya’s translation：旅行者的队伍从我身边走过，没入遥远的天际。由于行星圆形的表面，人类好奇的目光消失在那里。&lt;br /&gt;
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For &amp;quot;s'enfonça dans l'atmosphère de l'horizon&amp;quot;, Guo translates it as &amp;quot;没入天际&amp;quot; and in the Ya’s translation the word “遥远的” is used to describe the sky “天际”. Guo Hong'an divides a whole sentence in the original French into three sub-clauses, while Ya Ding divides a whole sentence into two. For the translation of “à l'endroit où la surface arrondie de la planète se dérobe à la curiosité du regard humain”, Ya Ding uses a logical correlate “由于” to indicate the cause, and the subject and predicate of sentence are respectively “好奇的目光” and “消失”; in Guo's translation, the causal relationship is not emphasized, and the subject and predicate being “表面” “遮住” “好奇的目光”. The similarity between the two translators is the conversion of the word “la curiosité”, which is translated word-for-word as “目光的好奇”. Both translators switch the modifier and the central phrase and translate it as “好奇的目光”. The difference, though, is that Guo uses it as an object and Yah brings this element to the front of the sentence as the subject.&lt;br /&gt;
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Original text：Et pendant quelques instants je m’obstinai à vouloir comprendre ce mystère ; mais bientôt l’irrésistible Indifférence s’abattit sur moi, et j’en fus plus lourdement accablé qu’ils ne l’étaient eux-mêmes par leurs écrasantes Chimères.&lt;br /&gt;
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Guo’s translation：有一段时间我一直想理解这奥秘：可是很快不可抗拒的冷漠控制了我，我被沉重地压倒了，那些背着过重的怪兽的人也没有这样。&lt;br /&gt;
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Ya’s translation：好长时间，我一直力图解开这个谜；可是不久，不可抗拒的冷漠控制了我，于是，我也显得比被怪兽压迫的人们更加疲劳了。&lt;br /&gt;
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Similarly, Ya Ding uses four commas and a semicolon in this sentence to loosen up the sentence structure. For example, the phrase &amp;quot;pendant quelques instants&amp;quot; &amp;quot;mais bientôt&amp;quot; is translated as &amp;quot;好长时间，&amp;quot;&amp;quot;可是不久，&amp;quot;. And the Ya Ding the conjunction &amp;quot;于是&amp;quot; to the sentence, indicating the continuation of the context. In contrast, Guo's translation of the phrase is longer and more compact. In the translation of &amp;quot;ils ne l'étaient eux-mêmes par leurs écrasantes Chimères&amp;quot;, Guo's translation remains closer to the subject-verb-object order of the original sentence, with the subject “背着怪兽的人”. There is still, on the other hand, is still a change of subject in the Ya Ding’s translation, using &amp;quot;我&amp;quot; as the subject. Guo translates &amp;quot;j'en fus plus lourdement accablé&amp;quot; as &amp;quot;被沉重地压倒&amp;quot;, while the Asian translation uses &amp;quot;more fatigued &amp;quot;. Obviously, the former passive form is more in line with the heavy and depressing atmosphere of the original, as the monster in people is already heavy, and the indifference that controls “我” is even heavier and more suffocating than the monster, while the power and emotion conveyed by the word &amp;quot;疲劳&amp;quot; are slightly inadequate.&lt;br /&gt;
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As a result, we can recognise the difference in translation style between Guo Hong'an and Aden by analysing their idiolect. Guo Hong'an's diction is simpler and more concise, conveying a more straightforward, serious and sharp emotional atmosphere. He tends to use longer endocentric phrases, with several &amp;quot;的&amp;quot; in a single clause; he uses fewer conjunctions and associative words, and does not add adjectives that are not found in the original; as a result, the clauses in Guo's translation are longer, and the whole sentence is more compact and closer to the structure of the original. In contrast, Ya Ding's diction is more varied. He prefers to use adjectives in order to express in an obvious way the mood and atmosphere hidden beneath the original text; he tends to use short, endocentric phrases and does not like to add too many modifiers before a central noun; he tends to use linking, logical correlatives to show the logical relationships hidden beneath the sentences, according to his own understanding; thus the sentences in Ya's translation are more dispersed and more lyrical, with a softer tone and atmosphere than in Guo's translation which conveys more strong and heavy emotions.&lt;br /&gt;
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==Non-formal Markers==&lt;br /&gt;
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The register markers and the lexical markers which belong to the category of formal markers are intuitive style symbols. But with these visual markers alone, it is not possible to get as comprehensive a picture as possible of the overall translation style of a work of translation. Therefore, when analysing translation style, it is necessary to consider not only formal markers but also non-formal markers. &amp;quot;Although style is not a ‘nebulous’ existence, it does have so-called 'non-formal elements' such as charm, style, momentum, mood, etc., which we call the non-formal signs of style &amp;quot; (Liu 2005:249)#.&lt;br /&gt;
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Non-formal markers are holistic, open, compatible and unique. The holistic nature means that the &amp;quot;non-formal marker style symbol system does not rely on the formal markers itself (see the six types of formal markers above), but on the general linguistic structure and features of the aesthetic object (textual patterns and features), the context, the communicative function of the work (intended to describe the scene, intended to stimulate emotion, intended to expound, etc.) to construct the unstable structure of aesthetic object, which evoke the psychological factors of image, experience and perception in the aesthetic consciousness of the aesthetic subject (the recipient, i.e. the reader). perception) , in order to adapt to the unstable structure of the aesthetic object, forming an ambiguous aesthetic activity&amp;quot;(Liu 2005:250)#. In ordinary parlance, the holistic is the overall feeling that the reader has about the text. This feeling is ambiguous, integrated and aesthetic. The openness refers to the openness of the aesthetic object, and the non-formal mark of style &amp;quot;fundamentally dependent on imagination and creativity&amp;quot;. Aesthetic criticism of the work itself is therefore flexible and unrestricted, and readers in different times and spaces can have their own interpretations of the same literary work. Compatibility refers to the fact that stylistic symbols carry a variety of information, not a single one; &amp;quot;the style of a great work of art is often a combination of rigidity and softness, light and darkness, inhibition and ebb and flow&amp;quot; (Liu 2005:250)#. Uniqueness means that identical non-formal symbol systems do not exist; each symbol and each system has its own characteristics.&lt;br /&gt;
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According to Liu Miqing, we can appreciate the specific significance of the non-formal symbolic system of style from four perspectives: the writer's choice of subject matter, his treatment and technique, the inner thoughts and emotions of the work, the writer's spirituality and the recipient factor. In the same way, when we apply this way of thinking to the analysis of translations, turning the &amp;quot;writer&amp;quot; into the &amp;quot;translator&amp;quot; and further analysing the translation style from two perspectives: the translator's approach and technique, and the inner thoughts and emotions of the work. In this way, the translation style can be analysed and interpreted in a more systematic and comprehensive way.&lt;br /&gt;
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Both translators, Guo Hong'an and Ya Ding, chose the book ''Le Spleen de Paris'', but the former considered it a collection of prose poems while the latter considered it a collection of essays, so the two translators adopted different approaches and techniques to the language and text in the process of translation. From the above analysis of the register markers and lexical markers of the two translations, which belong to the category of symbolist literature, we can see that the similarity between the two translations is that they both capture the most important feature of the original text - its symbolic meanings. The difference lies in the fact that Guo Hong'an's diction is closer to the Chinese elegant language and more concise, leaving more room for the reader's imagination. His translation has fewer sub-clauses, a more compact sentence structure and the punctuation is more similar to that of the original French. The translator's personal creation is less reflected in the translation and the translator is more invisible. In contrast, Ya Ding's idiolect is more colloquial and tends to use inflections, adjectives, correlatives, etc. that express emotion and logic. He often brings out the emotions and logic hidden in the original text in the translation, giving the text a more graphic feel, which facilitates the reader's understanding of the emotional content of the original text, but at the same time reduces the reader's scope for imagination. His translations contain many short sentences with a loose sentence structure, which is closer to the form of a prose text. Both in terms of form and content, we can see in the translation that Ya Ding as a translator has played a more creative role. &lt;br /&gt;
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The content of both translations is based on the original text and is therefore largely the same. In terms of the form of the translation, such as phrase structure, sentence structure, paragraph structure, etc., the two translations differ considerably. As a result of this difference in form, there is also a division in the ideas and emotions conveyed by the two translations. In the analysis of the text Chacun a sa chimère above, we have been able to gain a comprehensive understanding of the two translations from a general perspective. The Guo's translation is rawer and low-emotion in its depiction of the setting and characters, and the oppressive and dreary atmosphere is well shaped by the compact sentence structure and condensed diction. The overall feeling of the Ya Ding's translation is softer. Although the scene is also one of a man being oppressed by a monster, there is a sense of compassion and sadness in the words of the Ya Ding's translation, and his words are emotional, whereas the words in Guo's translation are clearly more emotionless.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
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The overall language of ''Le Spleen de Paris'' is sharp, raw and pitiless, and the atmosphere created is heavy, grey and depressing. Through his depiction of the urban environment and his portrayal of urban characters, Baudelaire satirises and criticises nineteenth-century capitalist society in a direct or indirect way. In such a money-over-money society, everyone pursues pleasure and utilitarianism. The lower classes, alienated by the big machine and mass production, lived a miserable life, exploited by the big capitalists and financiers, deprived of the freedom they were entitled to as human beings, losing their individuality and becoming numb, losing their sense of subjectivity and no longer being able to control their own lives. And the &amp;quot;awakened men&amp;quot; like Baudelaire, the artists and literary scholars, who saw the ills of society but were unable to change them, were forced to submit to the filthy capital. As a result, they are miserable. Like ''Les Fleurs du mal'', ''Le Spleen de Paris'' was born in this context.&lt;br /&gt;
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Guo Hong'an translates ''Le Spleen de Paris'' as a prose poem, so his sentence construction is more compact; Adam treats it as prose, so his sentence construction is looser. Combined with the different diction habits of the two authors, Guo's more elegant diction and Adam's more colloquial diction, a clear difference in style emerges between the two translations. The style of Guo's translation is more sombre, unfeeling and sharp, while that of Adam's is relatively softer, emotive and more human.&lt;br /&gt;
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Liu Miqing's theory of translation style provides an effective and relatively comprehensive way of thinking and perspective for analysing the style of a text from different perspectives, such as content and form, visible and invisible, internal and external, etc. This is undoubtedly very valuable for comparing and analysing the translation styles of the two translations. However, we can see that some of the definitions in this theory are very vague or too detailed, for example, the difference between &amp;quot;lexical symbols&amp;quot; and &amp;quot;register symbols&amp;quot; is not very big, both are related to the use of words, but Liu Miqing insists on dividing them into two kinds of symbols, which makes it impossible to clearly determine the types of formal symbols when using the theory for analysis. This leads to the analysis of different texts that always feels like it is saying the same thing. It is clear that the analysis is done from two different perspectives of words and phrases, but in reality, the analysis yields roughly the same result.&lt;br /&gt;
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==References==&lt;br /&gt;
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[1] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心 Center for Chinese Linguistics of Peking University. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆 Liu Mingqing. 新编当代翻译理论[M]. 北京 Beijing: 中国对外翻译出版公司 China Translation &amp;amp; Publishing Corporation, 2005.&lt;br /&gt;
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[4] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 郭宏安 Guo Hong'an, 北京 Beijing: 商务印书馆 The Commercial Press, 2018.&lt;br /&gt;
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[5] 波德莱尔 Baudelaire. 巴黎的忧郁[M]. 亚丁 Ya Ding, 北京 Beijing: 生活·读书·新知三联书店 Sanlian Bookstore, 2004.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study= 功能对等翻译视角下的鲁迅短篇小说翻译研究——以杨、戴夫妇的《孔乙己》英译本为例&lt;br /&gt;
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秦建安 QinJianna, Hunan Normal University, China&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
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[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
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[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
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[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
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[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is divided into four parts. The first part is an overview of the translation project, which mainly introduces the relevant situation of the translation project, the author and works of the translated text; The second part is the preliminary preparation of translation, including project text analysis and translation plan formulation; The third part, translation theory and case analysis, including functional equivalence theory, translation strategies and case analysis; The fourth part is the summary of the project, mainly on the problems encountered in translation, the experience and inspiration gained in the process of translation.&lt;br /&gt;
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This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Conversion Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
From the beginning of the British northern colony to the early 20th century, blacks were brutally exploited and oppressed by the slavery system. In particular, female slaves not only had to bear heavy labor, but also suffered the destruction and abuse of supervisors. Since the publication of the first Autobiography of black slaves in 1760, some advanced elements in black slaves denounced and denounced the evils of slavery with their own experience, and made outstanding contributions to the abolition movement. The author of this work is Harriet Jacobs, whose pseudonym is Linda Brent. Born in a slave family, she fought tirelessly because she could not bear the persecution of slave owners on her and her children. After fleeing to the north, the author wrote a biography of his personal experience of being enslaved, exploited, persecuted, fleeing to the north and realizing freedom, which was published in 1861. Through the Chinese translation of this autobiography, more people have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves.&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
This autobiography of black women starts from the experience of childhood from the perspectives of black slaves and women. In the process of growing up, the author experienced different masters of good and evil. When she was a child, her hostess let the author learn to read and write. Later, she died of illness. Then the new owner, Dr. flint and his wife tortured and framed her. Later, for the freedom of her children, the author resolutely decided to flee to the north and enjoy the right to freedom with her children. In the process of pursuing freedom, he went through escape, pursuit, hiding until he went north by boat. The author selects simple but typical examples in daily life, through the description of characters' psychology and language, the contradictory struggle between the interests of opposite classes, the criminal complaint of slave trafficking, and the process of slaves fleeing to the north, reveals the slave owner's naked exploitation and fraud of slaves, and reveals the slave's sincerity, courage and longing for freedom. The simple language and narrative techniques of the work fully shape the tenacity, courage, intelligence and clear love and hate of the female slave Linda Brent, and show the readers the misfortune and suffering of many slaves.&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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3.1 functional equivalence theory&lt;br /&gt;
This translation practice report takes the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework. Eugene Nida is an American linguist and a famous translation theorist. From the perspective of etymology, according to the essence of translation, he put forward the famous dynamic equivalence translation theory, namely &amp;quot;functional equivalence&amp;quot;. In this theory, he pointed out that &amp;quot;translation is to reproduce the information of the source language from semantics to style in the most appropriate, natural and equivalent language&amp;quot;. He believes that translation is not only the equivalence of lexical meaning, but also the equivalence of semantic style and style. The information conveyed by translation includes both surface lexical information and deep cultural information. Equivalence in dynamic equivalence includes lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence. Nida pointed out that the translation should be functionally equivalent to the original text. Judging whether the translation is equivalent to the original text should be based on the psychological response of the readers, that is, the translator should not only stay in the equivalence of structure and semantics, but strive to make the target readers produce the functions and effects that the original author wants to achieve through his works, so as to make the target readers after reading the translation, Get the same feelings as the original readers, and make translation really become a converter of thoughts, feelings and cultural information. Therefore, in literary translation, according to Nida's theory, the translator should take the four aspects of dynamic equivalence as the translation principle to accurately reproduce the cultural connotation of the source language in the target language.&lt;br /&gt;
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The core of Nida's functional equivalence theory is &amp;quot;content is greater than form&amp;quot;, which emphasizes that when there is a conflict between content and form, content must precede form (Nida, 2004:203). Due to the differences between Chinese and Western ways of thinking and logical habits, in order to make the translation conform to the habits of readers in the target country and make it easier for readers in the target country to accept, the author has adopted different translation methods and strategies. According to the specific content of Nida theory, this paper intends to analyze its application in English-Chinese translation practice from four aspects. 1、 According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to achieve lexical semantic equivalence between the source language and the target language; second, addition and subtraction and part of speech conversion are used to make the translation conform to the expression habits of target slogans in grammar and language form and consistent with the original text in terms of cultural background and word association; third, forward and reverse translation is used to reproduce the original text Fourth, for the long and difficult sentences of the original text, the translation methods such as reorganization, sentence splitting and merging are adopted to make the language expression forms of the translation more rich and diverse, and more easily accepted by the target language readers.&lt;br /&gt;
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3.2 translation skills and case analysis&lt;br /&gt;
When translating vocabulary, the author mostly adopts the literal translation method to convey the information of the original text more accurately. If the meaning of the translation is not accurate enough or does not conform to the Chinese expression habits after the literal translation, the author adopts the free translation method, while for the long and difficult sentences with complex structure, the translational translation method and split method are adopted to make them conform to the Chinese expression habits and more acceptable to the readers.&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
Case 1: literal translation and free translation to achieve semantic equivalence in vocabularyIn the process of translation, it is the basic quality of every translator to correctly express the source language in the target language. In order to achieve this goal, the translator must start with the smallest unit of the source language—vocabulary. In project translation, the author follows the functional translation theory and pursues semantic equivalence. First, we must ensure the equivalence of lexical meaning. The author mainly discusses the semantic equivalence of words from two aspects: literal translation and free translation.&lt;br /&gt;
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1. Literal translation  &lt;br /&gt;
Literal translation emphasizes the consistency between the original text and the translation in form and content, which helps to maintain the style of the original text. Literal translation is not a dead translation, a hard translation, or a literal translation. Literal translation emphasizes retaining its form and reaching its meaning.&lt;br /&gt;
The example 1:&lt;br /&gt;
“Nothing could please her better than to see me humbled and trampled upon” is literally translated as ”没有什么比看到我恭顺谦卑、任人践踏更让她快活啦。”&lt;br /&gt;
Analysis: in this sentence, humbled and trampled upon is used to express the due psychology and living state of slaves in the eyes of slave owners. Here, it can be translated into obedience, humility and trampling, which can reflect the coldness of slave owners and the misery of slaves.&lt;br /&gt;
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2. Free translation&lt;br /&gt;
Paraphrase emphasizes divine similarity. When the original text is quite different from the translation in terms of lexical meaning, syntactic structure and style, it can not be confined to the original text. Free translation should be adopted to explain the form of the original language in another language form, so as to correctly express the ideological thrust of the original text. Free translation should conform to the grammatical norms and expression habits of the target language, so as to make the translation more fluent and natural. Free translation is not arbitrary addition and deletion, nor random translation. Free translation emphasizes &amp;quot;preaching its spirit&amp;quot; rather than &amp;quot;retaining its shape&amp;quot;. The work belongs to biographical literature. There are great differences between the source language culture and the target language culture. The translator can not adhere to literal translation from beginning to end, but should carry out free translation according to needs, so as to achieve better translation effect.&lt;br /&gt;
The example 2:&lt;br /&gt;
I resolved to give him no cause to accuse me of being too much of a lady, so far as work was concerned.&lt;br /&gt;
literal translation: 就工作而言，我决心让他找不到口实指责我过分淑女。&lt;br /&gt;
free translation: 就工作而言，我决心让他找不到口实指责我养尊处优。&lt;br /&gt;
Analysis: a lady originally means 女士或优雅的女子. Too much of a lady is often understood as 十分优雅. Because the author could read and write and looked dignified, he had not done heavy work like other slaves before, &amp;quot;I&amp;quot; guessed that the young master was disgusted with it. Here, too much of a lady is translated by free translation, which reflects the inner contempt of the young master for &amp;quot;me&amp;quot;.&lt;br /&gt;
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Case 2: addition, subtraction and part of speech conversion make the translation achieve sentence meaning equivalence, which is in line with the expression habit of the target language.&lt;br /&gt;
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3. Additional translation&lt;br /&gt;
The example 4:&lt;br /&gt;
One day, she sat under the window where I was at work, crying that weary cry which makes a mother's heart bleed. &lt;br /&gt;
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一天，她就坐在我干活的那个房间的窗户外哭，哭得声嘶力竭让任何一个做母亲的心里流血。&lt;br /&gt;
Analysis: A mother literally means &amp;quot;一个母亲&amp;quot;, but the following clause is translated into &amp;quot;哭得声嘶力竭让一个母亲的心里流血&amp;quot;. The emotion of the translation is weak. In this article, &amp;quot;I&amp;quot; as a slave must work and can't take into account children and family affection, because in the slave owner's view, slaves are low animals and don't deserve feelings. Although I heard my daughter crying, I couldn't get over it. Any mother would be distressed to hear her daughter's cry. In order to make up for the lack of emotion in literal translation, the method of additional translation should be adopted here, which is translated as &amp;quot;任何一个母亲&amp;quot;&lt;br /&gt;
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4. Omission &lt;br /&gt;
The example 5:&lt;br /&gt;
The doctor stamped his foot at him in a rage, and exclaimed, &amp;quot;Get out of the way, you little damned rascal! If you don't, I'll cut off your head.&amp;quot;&lt;br /&gt;
translated text：医生愤怒地跺了他一脚，厉声说道：“滚开!他妈的小坏蛋，如果不听话，我把你的头砍下来!”&lt;br /&gt;
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Analysis: Dr. flint twice went to the north to pursue the fugitive slave &amp;quot;I&amp;quot; without success. He spent a lot of money and was full of anger. At this time, my son asked him if he had brought his mother back. Dr. flint stamped his feet angrily, scolded and threatened the child. Through the vivid description of Dr. Flint's body movements and language, his angry image jumped onto the paper,In order to achieve the same effect and achieve the equivalence of language style, the author uses even verbs according to the original &amp;quot;stamped his foot at him in a rage, and exclaimed&amp;quot; and translates it into &amp;quot;stamp his foot angrily and say&amp;quot; you little damned rascal!!! &amp;quot;It is also a typical strong adult's words towards weak children. In order to be concise and powerful, the author omits &amp;quot;you&amp;quot; and translates it into &amp;quot;他妈的小坏蛋&amp;quot;.&lt;br /&gt;
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The example 6:&lt;br /&gt;
But when winter came, the cold penetrated through the thin shingle roof, and I was dreadfully chilled.&lt;br /&gt;
translated text：上次遭遇蛇咬，现在我对蛇更惧怕了，踏上这个藏身的地方，我不由心惊胆颤。&lt;br /&gt;
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Analysis: My fear of snakes is literally translated as &amp;quot;我对蛇的恐惧&amp;quot;, and the subject of the following clause is &amp;quot;我&amp;quot;. In order to give the target readers a unified reading perspective, my fear of snakes had been increased is translated as: 我对蛇更惧怕了. By transforming the noun of fear into a verb, the translation is more concise and more in line with Chinese expression habits than literal translation.&lt;br /&gt;
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Case 3: The stylistic style of the original text is reproduced by positive and negative translation.&lt;br /&gt;
5.The Positive and Negative Translation&lt;br /&gt;
The example 7:Nobody respects a mother who forsakes her children; and if you leave them, you will never have a happy moment.&lt;br /&gt;
translated text 1：没有人尊重抛弃孩子的母亲，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
translated text 2：抛弃孩子的母亲会遭人唾弃，如果你离开他们，你永远不会幸福的。&lt;br /&gt;
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Analysis: This sentence contains a negative indefinite pronoun—nobody. In translation text 1, the first half of the original text (Nobody respects a mother who forsakes her children) is translated into &amp;quot;没有人尊重抛弃孩子的母亲&amp;quot;. Although the meaning is translated, the expression is not authentic. Translation text 2 uses the positive and negative translation method to change negative into positive, and “Nobody respects” into &amp;quot;being despised&amp;quot; can better express the speaker's (my grandmother's) eagerness to oppose &amp;quot;I&amp;quot; to escape.&lt;br /&gt;
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Case 4:The translation methods of reorganization, sentence splitting and merging are adopted to make the translation conform to the expression habits of the target language&lt;br /&gt;
There are great differences between English and Chinese syntactic structures. English is a linear language. Its syntax takes the subject predicate structure as the central axis, while other components form branch lines in the form of branches and connect with the main axis through connectives. The logical relationship between sentences tends to be explicit,; Chinese is more parataxis, and the combination between the components in a sentence or between sentences mostly depends on the connection of semantics and uses fewer connectives. Chinese sentences are arranged under the command of theme, that is, the structure of &amp;quot;topic description&amp;quot; has various forms and free combination. The logical relationship between sentences is more implicit (Yang Lin, 2007: Preface). There are few logical relational words between clauses and between sentences. Therefore, the author adopts the reorganization method, combining syntax and disassembling syntax to realize the semantic equivalence of sentences, and studies the influence of sentence structure on the translation. The significance is to better guide the translation practice.&lt;br /&gt;
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5.Recasting&lt;br /&gt;
The example 7: This was the good old lady who paid fifty dollars for my grandmother, for the purpose of making her free, when she stood on the auction block.&lt;br /&gt;
translated text：这个老太太是个好人，当年外祖母站在拍卖台上，为了让外祖母获得自由她花五十美元买下了我的外祖母。&lt;br /&gt;
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Analysis: The original text contains two compound structures, one is an attributive clause, the other is a time adverbial clause. Because Chinese sentences are constructed according to the law of logical order, the word order is arranged according to the actual sequence and event order, which is divided into sequence in time, and pay attention to the causality in logic. The author adjusts the time adverbial clause to the front, first explain the time, then explain the reason, and finally the result. This reorganized translation plays an important role in shaping the relationship between sentences, which is in line with the characteristics of Chinese sentence structure.&lt;br /&gt;
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6.Sentence-combining&lt;br /&gt;
The example 8: There was joy and there was sadness in the sound. It made my tears flow.&lt;br /&gt;
translated text：无论是哭声还是笑声都会让我泪流满面。&lt;br /&gt;
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Analysis: The original text is two sentences. Considering the close causal relationship between the two sentences, the author adopts the translation method of combined sentence to translate it into one sentence, so that the target language readers can read it more naturally.&lt;br /&gt;
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7.Dismantle the syntactic&lt;br /&gt;
The example 9: My hope was that the doctor would get discouraged, and, for fear of losing my value, and also of subsequently finding my children among the missing, he would consent to sell us; and I knew somebody would buy us.&lt;br /&gt;
translated text：损失一个女奴，再赔上我的两个孩子，这正是弗林特医生所担心的。他会泄气并同意卖掉我们，我知道有人会买下我们，而这正是我所希望的！  &lt;br /&gt;
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Analysis: When dealing with long English sentences, the method of splitting is generally used to divide the original sentence into several parts and combine them according to their internal logical relationship. The adverbial clause after the subject of “My hope” consists of three parallel sentences, the second of which has a more complex cause adverbial. The author first takes apart the subject clause, first translates the clause, and then presents the subject at the end, which is in line with the characteristics of Chinese presentation before topic.&lt;br /&gt;
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Case 5: Stylistic equivalence&lt;br /&gt;
The basic task of translation is to faithfully present the original text, so it is necessary for the translator to pursue the style of the original text. To achieve stylistic equivalence, the translator needs to analyze and identify the stylistic markers in the original. The original text contains national language characteristics, historical allusions and religious beliefs, so it has cultural differences. In translation, it should reflect the style of the original text and optimize it accordingly, so as to realize the re creation of style and adapt to the communication of the target language.&lt;br /&gt;
The original text has strong religious and cultural content, simple and pious faith, and shows their enthusiasm and passion for them. In translation, we should not only show the feeling of religious belief and culture, but also optimize the sentence style and deal with alienation appropriately, so that readers can feel the piety and understand the author's writing intention.&lt;br /&gt;
The key to shaping the problem role lies in its adaptability to the style of the original language. Only by adopting appropriate translation methods, deeply understanding the cultural background of the original text and skillfully changing the style of the original text, can the style meaning of the original text be reproduced in the target language and better reflect its charm and artistic conception.&lt;br /&gt;
In a word, a biographical text should be well expressed first to make it conform to the expression habits of the target language. First, we should deeply understand the creative intention of the original author and think of what we think from the perspective of the original author, so as to realize the central idea of the original text. The premise of translation is that the translator should have profound language and cultural skills and deeply understand the particularity of different background cultures, Have a good command of the target language, and then use it flexibly.&lt;br /&gt;
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The example 10: She hasn't so much feeling for her children as a cow has for its calf. If she had, she would have come back long ago, to get them out of jail, and save all this expense and trouble. &lt;br /&gt;
translated text：她对孩子的感情还不如母牛呢，母牛还知道护犊子。如果她有感情，她很久以前就会回来把他们救出去了，也就没有这些代价和麻烦了。&lt;br /&gt;
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Analysis: This sentence is a complaint made by Dr. Flint's wife—my mistress, about my escape. Considering that cows in Chinese culture also have the image of caring for their cubs, The author translates call “feeling for her children as a cow has for its calf” as：“母牛还知道护犊子”, This not only achieves cultural equivalence, but also sounds colloquial. On the other hand, it is in line with the speaker's identity as a mean slave owner.[He was &amp;quot;a chip of the old block.&amp;quot; If he found any slave out after nine o'clock, he could whip him as much as he liked; and that was a privilege to be coveted.如果他发现任何人九点后（宵禁时刻）跑出去，他就会抓住并鞭打此人，直到他满意为止。这是别人垂涎三尺的特权。]&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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Through the development of this project, the author believes that the translation of biographical works needs to have a full understanding of the differences between Chinese and English languages and cultures, thinking habits and expression methods. Only after having an accurate understanding and grasp of the language characteristics and contents of the original text, can words and sentences be carefully selected and constantly modified and polished in the process of translation, Make it an excellent translation. The author summarizes the following points in the whole translation process:&lt;br /&gt;
The translation method of biographical text. Biographical text has both information function and expression function (Zhang Meifang, 2006). Therefore, in translation, the translator should not only correctly express the information of the original text, but also reflect the literariness of biographical literature. In view of the differences in thinking and logic between Chinese and English, different translation methods should be adopted in the translation process. For example, literal translation can be used in terms of vocabulary, so as to simply, clearly and accurately convey the meaning of the original text. If literal translation is not possible, free translation, addition or subtraction, positive and negative translation, such transformation and other methods should be adopted to strive to achieve literal semantic equivalence. In terms of sentences, according to the respective characteristics of Chinese and English sentence structures, translation skills such as reorganization, disassembly and combination of syntax are adopted in order to meet the reading habits of target language readers. Experience the language style of biographical literature. In this project, the author's narrative language is simple and simple, and do a good job in the analysis of the characteristics of biographical literature materials. For a translator, the types of material translation can be diverse, literary or scientific, so the translator must do a good job in the analysis of text materials when he gets a relatively unfamiliar translated text, Only after analyzing the materials thoroughly and finding out the characteristics can the preparatory work be done adequately. This project adopts biographical text, which is characterized by many names and place names and strong local cultural characteristics. Therefore, in order to improve the accuracy of translation, the author has made a lot of preparations before translation, including finding the author's relevant background information, relevant historical facts, as well as the folk customs at that time. With reference to the new English Chinese dictionary, the names of people and places in the text are translated uniformly. Due to sufficient preparation, these problems encountered in translation have been solved.&lt;br /&gt;
The author has two experiences in maintaining problem awareness in the translation process. &lt;br /&gt;
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First, if you encounter an uncertain word and sentence in the translation process, you should consult the relevant reference books in time or use the Internet. &lt;br /&gt;
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Second, when dealing with cultural problems, I often ask my classmates or experts in this field for advice, so as to solve the problems in time.&lt;br /&gt;
At the same time, there are some problems in the process: My translation experience is still shallow and the cultural knowledge reserve is insufficient. There are some disadvantages in this project.Because my Chinese level needs to be further improved, the translated language is still immature and not concise enough. Second, the lack of relevant knowledge leads to the fact that the unique things of foreign culture can only be translated directly and hard in translation, resulting in the stiff and rigid translation. Such as a box, covered with sheepskin, is called the gumbo box. A dozen beat on this, while other strike triangles and jawbones, to which bands of dancers keep time.&lt;br /&gt;
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Third, in translation, we should not only maintain the meaning of the original text, but also reflect the style of the original text. We can't have both fish and bear's paw—鱼和熊掌不可兼得。Therefore, I believe that only through a lot of translation practice and summing up experience can we improve our translation level.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Beardslee, Karen E. Through Slave Culture's Lens Comes the Abundant Source: Harriet A. Jacobs's Incidents in the Life of a Slave Girl.&amp;quot; MELUS 24 (1999): 37-58.&lt;br /&gt;
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[2]Jacobs Incidents in the life of a Slave Girl: Written by herself.&amp;quot; Languages &amp;amp;Literature 15(2001):314-336.&lt;br /&gt;
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[3]Incidents in Life of a Slave Girl chapters 16 to 30&lt;br /&gt;
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[4]李小春. (2016). 浅析英语翻译技巧及方法的应用. 读天下(20), 1.&lt;br /&gt;
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[5]李亚云.《一名女奴的人生际遇》之黑人女性身份建构[J].文学教育(上),2015(07):30-31.p&lt;br /&gt;
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[6]李亚云. 《一名女奴的人生际遇》之黑人母性分析[D].中央民族大学,2016.&lt;br /&gt;
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[7]付娟. 英汉翻译中拆句法和合并法的有机结合探析[J]. 好家长, 2016(38):1.&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hung-ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century (Li Zongzheng 2016: 112-116). In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature (Bao Xiankuo 2001: 62-67). With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators.&lt;br /&gt;
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''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
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This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hung-ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand.&lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====Fusion of Hrizons====&lt;br /&gt;
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Hans-Georg Gadamer is the greatest thinker in 20th century when his academic work ''Truth and Method'' was published. The publishment brought about widespread attention in the world and helped him reach the immortal status in the field of philosophy. Actually, the theory used in this paper is originated from ''Truth and Method''. “Horizon” was first proposed by Edmund Husserl, a great German philosopher. For the concept of “Horizon”, Husserl believed that “everything worldly giving is given under the horizon. Finally, everything given by the world itself has the horizon of the world, and it is only for this reason that it is realized as the world.” (Wei Fangyuan 2013: 134-136)&lt;br /&gt;
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It can be seen that “Horizon” in Husserl’s eye is related to consciousness. Husserl’s “Horizon” includes two ones, internal horizon and external horizon. Internal horizon refers to what previous knowledge people have grasped or not. External horizon refers to grasp or experience of another open horizon when people have internal horizon. Martin Heidegger, from the respective of Ontology, believed that “Horizon” is something real which has been known by human and exists previously. This becomes precondition of our understanding. Inspired by Martin Heidegger and Edmund Husserl, Hans-Georg Gadamer affirmed the importance of “Horizon”. In his Hermeneutic, “Horizon” refers to the process of understanding from a specific standpoint. And “Fusion of Horizons” means that the process of understanding in nature is open without fixed pattern and answer. “Fusion of Horizon is not onlly diachronic, but also synchronic. History and present, object and subject, self and other, all form an infinite unified entirety. (Wei Fangyuan 2013: 134-136 ) &lt;br /&gt;
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Gadamer thinks that, both the translator and the object which is explained by the translator have their own horizons. The object-- history, classics, personal life, philosophy or work of art—has its own historical horizons. When we understand historical classical works, philosophy or certain culture with the horizons given by the history, the conflict of two different horizons and historical background will inevitably happen. Translation neither demands the translator to totally give up his own horizon in order to get into the text’s horizons, nor allows the interpreter simply includes the text into his own horizons. Translator, starting from his original horizons, ceaselessly test his own “prejudice” and open his own horizons, in the contact with the object which is interpreted by the interpreter, then two different horizons forming a new horizon. This process is called “fusion of horizons”. The reason why it is possible to interpret historical text is the fusion of horizons of the readers and writers of the original text.&lt;br /&gt;
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====Fusion of Horizons in translation study====&lt;br /&gt;
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In the view of Hans-Georg Gadamer, any understandings is carried out in the stream of history for any interpreter and reader lives in the history in his or her own way. Historicity is the basic fact of human existence. People’s historical particularity and limitations cannot be eliminated and avoided. Both subject and object exist in historicity. History determines that people cannot get rid of historicity. Such question faced by Hermeneutics is not what we carry out but what caused on us by something beyond our willing and behavior. In the research of translation Gadamer’s “Fusion of Horizons” can be borrowed and reformed into views or perspective available to the translation study. (Li Ge 2020:50-63)&lt;br /&gt;
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To achieve such a horizon, means that we learn to see something beyond its restricted horizon. However, the reason why we do this is for watching the things in a more correct angle and in a bigger unity, rather than for avoid seeing it.(Gadamer, H. G. 2004: 304) We need to study translation from a higher point and in a more overall angle. Only in this way can we “full see” the parts of the integrity, which is the enlightenment brought by “fusion of horizons”. The precondition of translation is that the translator and the original text have the common horizons. If the translator does not know medicine, he cannot interpret some books about medicine, and vice versa. The translator need to understand the original text’s meanings at first, which means that he will get into the horizon of the original text, and overcome the difference to form a new horizon. This is the first fusion of horizons. The second one is that the translator gets into the horizons of the target readers. Then the third fusion of horizons, the final interpretation of the translator, is the fusion of the two texts after the first two fusions. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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During the process of translation, the horizons are produced in the history rather than in isolation. In the fusion of horizons, the past and the present, the subject and the object, form a unity. Everything exists in the point of history, and all the interpretation cannot be finished for good. The original text itself is historical. The language, content, thoughts and etc. in it are marked by characteristics of the times. The translator is also historical. He will be influenced by his identity, status and tradition. There does not exist “perfectness” and “standard” in the translation. It will vary with different historical period. So the study of translation also goes on. (Gadamer, H. G. 2004: 304)&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
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The theory of “Fusion of Horizons” is the core concept of Hans-Georg Gadamer’s Hermeneutic theory.&lt;br /&gt;
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====The history of translations of ''Lun Yu====&lt;br /&gt;
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''Lun Yu'' is as important to Chinese is the Bible is to Westerners. So ''Lun Yu''’s translation is hot in western countries. ''Lun Yu'', whose translation can be traced back as early as the end of 16th century, has been translated by lots of missionary, sinologist, philosopher, litterateur and other scholars. There have been more than 40 translation versions of ''Lun Yu'' so far. Its English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. In 1861 James Legge’s The Confucian Analects became the mark of the English translation of ''Lun Yu''. A Companion for Chinese Translators makes comments on the translation version that James Legge can roughly understand the meaning of the original text and that his enormous notes can show his serious and careful attitude to the translation of our Chinese classics. (Wang Hui 2003: 39-43) &lt;br /&gt;
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In 1898, Ku Hong-ming’s translation of Lun Yu was published in Shanghai. The reason why he retranslated Lun Yu is that he was not content with James Legge’s. Ku Hong-ming use the strategy of foreignization, trying to translate Lun Yu in the same way an educated British express his thoughts. And Ku thought the Chinese proper nouns should be omitted and some European writers’ saying in order to remove the feeling of strangeness of British readers. In 1938, Arthur Waley’s version of Lun Yu was published. Waley wrote long-winded introduction for the translation, which was accompanied by detailed notes for readers and was followed by the footnotes for in-depth discussion on the text. Cui Yonglu thought that Waley’s translation, retaining the original text’s meaning and culture and paying attention to the detail, is beneficial to scholars. In 1998, Roger Ames’ translation of Lun Yu was published. His retranslation, which is based on a philosophical perspective, exerted great influence in the world of translation at home and abroad. In 2005, Xu Yuanchong’s Thus Spoke the Master was published. The book’s title borrowed the name of well-known philosophical translation called Thus Spoke Zarathustra, which shows Chinese translators’ creative spirits. In addition, there are still so many translators, such as Ezra Pound, James Ware, Din Cheuk Lau, Lin Yu tang and so on. (Wang Hui 2003: 39-43) &lt;br /&gt;
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====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
In the nearly 30 years, the study of ''Lun Yu''’s translation has become hot in the translation studies. Scholars have made lot of studies of ''Lun Yu''’s translation from different angles and theories. From the linguistic point of view, scholars focus on the equivalence of lexicon, syntax, text and style. Professor Liu Chongde wrote “A research into Waley’s English version of The Analects—And some comments on its English versions by Legge and D. C. Lau”. Professor Liu summarized the language features and style of the two translations by Waley and Legge. Besides, he compared James Legge’s version and D. C. Lau’s, and made a conclusion that the former one preferred the written English, complicated sentences and archaic words which were quite similar to the style of the original, while the latter one preferred using spoken English and simple sentences.(Liu Chongde 2001:15-17) &lt;br /&gt;
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From the cultural point of view, Yao Shun in Southwest Jiaotong University did “On English translation of Confucius notions from the perspective of Skopos theory—A case study on Legge’s and Waley’s Translation of ''Lun Yu''”. Yao concluded that translation cannot be measured only by the equivalence with the source text, other elements such as translators’ purposes and expectation of target readers should be taken allowance for and that amongst these factors, the intention of the target text ranks the first.(Yao Shun 2014: 42-43)&lt;br /&gt;
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From the sociological point of view, Zhang Xin in Jiangnan University did “A study on Xu Yuanchong’s English Translation of ''Lun Yu'' from the Sociological Perspective of Bourdieu”.   Zhang draw some tentative conclusions. Firstly, the original text must be valuable and unique with an international reputation to facilitate its dissemination in the world. Secondly, translators should pay full attention to the readability and acceptability of target readers to meet their anticipation. Thirdly, the success of a work is the combination of various social factors.(Zhang Xi 2020:80-89)&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
''Lun Yu'' has always been translated or retranslated into many languages. Before interpretation, interpreters are supposed to try to totally understand ''Lun Yu'' in the first step. However, in the matter of fact, the language of a text is really hard for translators to totally understand. Different cultural background and different translators may produce different translation version.&lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》） [8]”. In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. &lt;br /&gt;
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====Horizon of the original text====&lt;br /&gt;
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Classical Chinese, hardly used today and unfamiliar to the present people, is featured by being short yet difficult, being concise yet profound. For example, “吾日三省吾身（《学而》）”.In the sentence, “三” , a typical classical Chinese, means many times, which is totally different from the present meaning, number three. “吾”, also a typical classical Chinese meaning “I”, is rarely seen in the present passages, and is replaced by the “我”. &lt;br /&gt;
''Lun Yu''’s style is different from others because it does not only include the records of Confucius sayings, but also dialogues between Confucius and his disciples. The language is colloquial and usually a general idea is stated but bot discussed in detail. Though with the colloquial language, it bears rich meanings for each word, with which, Confucianism is clearly and truly expressed. Besides, the frequency of empty words is considerably high among less than 16,000 characters in ''Lun Yu''. For example, “也”, “乎”, “哉” and so on. (Yao Sshun 2014:42-43) &lt;br /&gt;
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====Horizon of the translator====&lt;br /&gt;
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Ku Hung-ming (1857-1928) is not only a famous literary figure in modern China, but also a great translator. He became an influential scholar at the turn of the 20th century because of his works that advocated Confucianism. Ku’s traslated works, including Lun Yu and Zhong Yong, played a significant role in spreading traditional Chinese culture to the western world. Ku, well-versed in both Chinese and Western cultures, has a good command of nine languages such as English, French, Germany and so on. He is the first one was proficient in Western science and language in the late Qing Dynasty. Special background of growth and education makes his thoughts combine advantages between Chinese and Western cultures. He tried to translate Lun Yu as a work written by a educated English man in order to promote Chinese traditional culture to spread in Western countries. At the meanwhile, he added his thinking and understanding of Confucianism in order to express the truth and spirit of Confucian classics and Chinese belief system. In order to make Western readers accept to the most extent the Confucian culture, Ku adopted some special methods, such as using extreme translation strategy of Domestication to translate Chinese special expression; borrowing the expression in Western literature to translate some words; applying the strategy of combination of omission and addition.(Niu Xiyu 2021: 89-90)&lt;br /&gt;
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When translating Lun Yu, Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. Western readers are not familiar with Confucian core words whose total equivalence can not be found in the Wesern culture. Ku did not translate the core words according to the literal meaning, but according to his deep understanding of Confucian classics he adopted flexible methods to translate the words in different situation. Besides, in order to make the translation of Lun Yu more readable to Western readers, Ku adopted the stratedy of domestication to interprete Confucian thoughts in Western way of mind. On the one hand, Ku used Western terms to translate those Confucian concept words which is difficult to Western readers. For example, he translates “天” as “God”. On the other hand, he quoted those well-known writers and thinkers who are familiar to Western readers, such as Johann Wolfgang von Goethe, Ralph Waldo Emersonand so on. Ku tries to make the content and form of the translation to accord with the way of thinking and cognitive structure of Western people. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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Xu Yuanchong, professor in Peking University, has been devoting himself in Literature translation study. He accomplished numerous classical translations and proposed many translation theories. He makes contribution to the development of Chinese traditional career.In 1921, Xu Yuanchong was born in Jiangxi Province in China. Since he was a child, Xu Yuanchong had been deeply influenced by his families. His mother was well educated and his uncle worked as a translator. All of these inspired his passion of enjoying literature and going after beauty, as we can see the three-beauty-concept-concept proposed in his later books. His uncle succeeded in translating the play called Wang Baochuan into English, which caused a sensation when it was performed in England. Later on the British dramatist George Bernard Shaw interviewed his uncle, which inspired the great interests of Xu Yuanchong in learning English well. In 1938, he was admitted to the Foreign Languages Department of National Southwest United University with the seventh place. In 1939, he translated the book “别丢掉” written by Lin Huiyin at the first time in order to express his love for a girl. Then he fell in love with translation ever after. Although suffering a lot, he still insisted to be himself. Xu made a great contribution to the development of Chinese translation. Xu introduces the three-beauty-concept to translation theory. The theory of three beauty advocates that a translation should be as beautiful as the original in sense, in sound and in font. These three aspects call also be respectively called Beauty of Sense, Beauty of Sound, and Beauty of Form. Beauty of Sense, emphasizing the deeper meaning, is of the first-rate importance. Beauty of Sound, emphasizing rhyme and rhythm, is of the second-importance. Beauty of Form, emphasizing length, is of the third-rate importance. All of these have great influence on his translation. (Li Mi 2004: 83-84)&lt;br /&gt;
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====Horizon of the target language culture====&lt;br /&gt;
The purpose of translation is to be read by the target readers. However, the target individual is different. They differ from historical background, education, knowledge, and so on. Some foreign readers read Lun Yu just for broaden his vision and know Chinese culture, some study the translation just for doing academic researches. The ages of target readers also influence the translation. Some young readers with less knowledge need translation which can be easily understood. For those aged readers the sophisticated translations are needed. (Niu Xiyu 2021: 89-90)&lt;br /&gt;
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===Contrastive Analysis===&lt;br /&gt;
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As Confucian classics recording the words and deeds between Confucius and his disciples, Lun Yu deeply influences generations of Chinese people. Lun Yu combines Chinese rich culture from thousands of years and gathers immortal spirit of Eastern philosophy. Therefore, a number of scholars at home or abroad want to translate Lun Yu. Especially, the various academic conference that has taken place in the recent years attract many scholars to absorb Confucian wisdom and explore Chinese wisdom from the old classics.&lt;br /&gt;
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====Description of key conceptual words====&lt;br /&gt;
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''Lun Yu''’s English translation started from 1809 when the British missionary named Joshua Marshman published the first English translation of ''Lun Yu''. Since that many other scholars have thrown themselves in the wave of translation of ''Lun Yu''. The scholars at home and abroad attempt to know more about the Chinese society, language, and Chinese culture through ''Lun Yu''. However, in order to really understand and interpret ''Lun Yu'', we must be clear about the meaning of the core conceptual words in ''Lun Yu''. Whether the translation of the core conceptual words is right or not has something to do with whether the readers abroad can understand the real meaning of the classics ''Lun Yu''. The translation of core conceptual words is so critical that has drawn many scholars’ attention. However, in the present situation of translation, one core conceptual word has so many Chinese translation, and some translation is not very accurate, which will cause trouble for foreigner readers to understand the original meaning and its cultural meaning. For those core words concerning Chinese culture, if wrongly translated, will not cause foreigners’ misunderstanding Chinese traditional culture, but also influence the improvement of national cultural soft power. Thus, the discussion of the translation of ''Lun Yu'', especially that of the core words, is very important to the circles of translation and culture. There are lots of core conceptual words in Lun Yu, but This thesis will mainly discuss the five core words: “''ren''”, “''li''”, and “''junzi''”. &lt;br /&gt;
“''Ren''” is the supreme state of moral ideal advocated by Confucius, and the spirit and centre of Confucian theory. Xu Shen in the Eastern Han Dynasty made an explanation of the word “''ren''” in “Shuo-wen chieh-tzu”. He thought “''ren''” is combined by “''ren''”(man) and “er”(number 2), and that “''ren''” does not express the quantitative relation but the interpersonal relationship, more accurately the interpersonal relationship close to friendship. (Xu Shen 2013: 1458) According to The Notes of ''Lun Yu'' by Yang Bojun, “''ren''” appears 109 times in ''Lun Yu'' . (Yang Bojun, 2009)&lt;br /&gt;
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“''Li''” is another important concept in ''Lun Yu'' after “''ren''”. According to The Notes of ''Lun Yu'' by Yang Bojun, “''li''” appears 74 times. Obviously, “''li''” is one of main ideas repeated by Confucius. Its connotation has become one of the objects the scholars of every dynasty attempt to study and understand since the ''Lun Yu'' came out. Both “''ren''” and “''li''” work as the centre of Confucianism. They complement and perfect each other. Just as the saying in Lun Yu, “To Subdue Oneself and Return to the Proprieties is Perfect Virtue”. “Li” refers to external behavior, while “ren” refers to internal morality. “''Li''” is a general term the rules and regulation according to the moral demanding. “''Li''” can restrict personal behavior, improve interpersonal relationship and help building a harmony and orderly society. However, Confucius does not give an accurate explanation of “''li''”, but its meanings can be analyzed from the concrete sentences concerning “''li''”. (Yang Bojun 2009: 23)&lt;br /&gt;
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“''Junzi''”, first found in The Book of Songs, was roughly referred to noble man. Thereafter, “''junzi''” was widely used in many ancient classics such as The Book of Changes, Shangshu and so on. Based on the original meaning “the noble man”, “''junzi''”’s meaning was extended and expanded. In Lun Yu, the word “''junzi''” got extended meaning of morality. The core conceptual word “''junzi''” mainly placed emphasis on moral deeds, then developed into the important cultural icon in Confucianism. According to The Notes of ''Lun Yu'' by Yang Bojun, “''junzi''” appears 107 times in ''Lun Yu'' .(Yang Bojun 2009: 11)&lt;br /&gt;
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====Different translations of key conceptual words====&lt;br /&gt;
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Different translators will have different translation. &lt;br /&gt;
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“Ren” has rich meanings. Its translation will to the certain degree influence the understanding of Lun Yu and Chinese traditional culture. For example:&lt;br /&gt;
子曰：“巧言令色，鲜矣仁！”《学而》&lt;br /&gt;
Ku: Confucius remarked, “With plausible speech and fine manners will seldom be found moral character.” &lt;br /&gt;
Xu: A good man, said the Master, would rarely say what he does not believe, or pretend to appear better than he is.&lt;br /&gt;
From the translation above, it is seen that Ku adopts free translation, and the English sentence is in formal grammer and syntax which accords with Western readers’ language habits. While Xu’s translation is not in the form of direct speech and he changes the order of the target text and use the parenthesis so as to conform to the habits of target language readers. It can be easily seen that Ku did not use literal translation for formal equivalence, but adopted free translation for dynamic equivalence between the original text and the target text, so that the translation can get closer to Western readers. And Xu employs free translation to make target readers better understand the meanings. For the translation of “ren”, Ku translated it into “moral character”. He thought “ren” is refers to all the morality, and that “ren” is the highest realm of life. The translation “moral character” is more in line with Western language habits. While Xu interpreted it into “a good person”, of which “good” has broad meanings just like “ren” which is a kind of moral category of extremely broad meanings in ancient China. By comparison, “mental character” is better translation for “ren”. (Yang Bojun 2009: 23) (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Li” is generally thought to have three main meanings. The first one is worshiping the God. The second one refers to a ceremony held to show respect or solemnity. The third one refers to the social and moral norms of the aristocratic hierarchy in slave society of feudal society. For example, &lt;br /&gt;
道之以道，齐之以礼，有耻且格 。（《为政》）&lt;br /&gt;
Ku: If, on the other hand, in government you depend upon the moral sentiment, and maintain order by encouragung education and good manners, the people will have a sense of shame for wrong – doing and, moreover, wil emulate what is good. &lt;br /&gt;
Xu: If they are led by virtue and order is kept by the rites, they would be conscientious and act in agreement with what is right. &lt;br /&gt;
Generally, “li” is rendered as “rites,” “customs,” “propriety,” “ritual,” “moral,” “rules of proper behavior,” and “worship.” However, Ku did not literally translated “li” but to fully understand its original meaning in such concrete situation to translated it into “education and good manners”. While Xu translated it into “rites”. In the Oxford dictionary, “rite” means a ceremony performed by a particular group, often for religious purpose. In Spring and Autumn and Warring States periods of China, the social order was in chaos. Actually, “rite” is a proper word full of Chinese speciality, which is really hard for Western readers to understand. Therefore, Ku’s translation “education and good manners” is better one. It not only convey Confucian thoughts but also make it readable to Western readers. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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“Junzi” is Confucian ideal character standard. Then what is “junzi”? In Confucian point of view, “junzi” should be erudite, which is an important standard of being “junzi”. First and the most, “junzi” should be a benevolent man. In addition, “junzi” and “xiaoren” form contrast. For example,&lt;br /&gt;
人不知，而不愠，不亦君子乎？（《学而》）&lt;br /&gt;
Ku: But he is truly a wise and good man who fees no discomposure even when he is not noticed of men.&lt;br /&gt;
Xu: Is he not an intelligentleman, who is careless alike of being known or unknown?&lt;br /&gt;
According to Oxford dictionary, the term “exemplary” refers to providing a good example for people to copy. Ku adopted free translation to interprete one word “junzi” into several words “wide and good man”, which is easy for Western peple to understand what “junzi” is. It can be seen that Ku had a thoroungh understanding of Confucian thoughts as well as well-versed in English. While, Xu translated it into “intelligentleman”, which cannot be found in dictionaries. It is a new word created by Xu. “Interlligentleman” is combined by “intelligent” and “gentleman”. In the Oxford dictionary, the term “intelligent” means good at learning, understanding and thinking in a logical way about things. “gentleman” refers to a man who is polite and well educated and who has excellent manners and always behaves well. “Intelligentlemen” seemly attempt to achieve formal equivalence with “junzi”. However, it is unfamiliar to Wetern readers. So Ku’s translation “a wise and goood man”. (Ku Hung-ming 2011) (Xu Yuanchong 2013:18)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
In this paper, we have talked over two translation versions of ''Lun Yu'' written by Ku Hung-ming and Xu Yuanchong, especially the core conceptual words in ''Lun Y''u. In the matter of fact, both of them had good command of Chinese and western cultures. But their interpretation of Lun Yu were quite different from each other. Here we use Gadamer’s “fusion of horizons” to explain why they had different understandings of Lun Yu. Understanding is regarded as the fusion of horizons between translator and the text in the hermeneutics, however, besides, the target readers should also be taken into consideration. Thus, in the paper, the horizons of the original text, two translators and target readers are expounded in detail. Under the contrast between the two translation versions, we could find out that Ku Hung-ming’s translation is better one which can more convey the meaning of original text and can be easier for the readers of the target culture from the perspective of the fusion of horizons. &lt;br /&gt;
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However, this paper could not give an in-depth research on the transaltion of ''Lun Yu'' because of the author’s limited knowledge and not thorough understanding of the theory of “fusion of horizons”. In addition, Confucianism has got more and more important influence on the world in the recent years. However, the study of translation of ''Lun Yu'' has not gone far enough. Though lots of scholars have achieved a lot in the field, there is still much work to do in the future. Written by --[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 03:41, 9 December 2021 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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Li Zongzheng, Ma Haidong 李宗政,马海东. (2016)《论语》英译的当代价值研究[J] [A study on the contemporary value of the ''Analects of Confucius''] 112-116.&lt;br /&gt;
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Wei Yuanfang 韦芳元. (2020) 浅析伽达默尔的视域融合理论[J].[On the Gadamer’s Theory Fusion of Horizons] 2013(12):134-136.&lt;br /&gt;
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Gadamer, H. G. Truth and Method[M]. New York: Continuum, 2004: 304.&lt;br /&gt;
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Wang Hui 王辉. (2003) 理雅各与《中国经典》[J]. [James Legge and Chinese Classics] 2003: 39-43.&lt;br /&gt;
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Lieu Chongde 刘重德. (2003)《论语》韦利英译本之研究—兼议里雅各、刘殿爵英译本[J]. [A Study of Lun Yu by Whaley—Discussion on contrastive analysis between James Legge and D.C.Lau)  2001: 15-17.&lt;br /&gt;
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Yao Shun 姚舜. (2014) 目的论视角下的儒家思想核心概念英译研究—以理雅各和韦利《论语》英译对比分析为例[D]. [A Study of Lun Yu Translated by Xu Yuanchong in the perspective of Skopostheory] 2014: 42-43.&lt;br /&gt;
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Niu Xiyu 牛汐语. (2021) 辜鸿铭《论语》译本中译者主体性的体现[J]. [The Presentation of Translator’s Subjectivity in Ku Hung-ming’s Lun Yu’s Translation] 2021:89-90.&lt;br /&gt;
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Li Mi 李谧. (2004) 许渊冲的诗译“三美”之说[J]. [Three Beauty in Poetic Translation of Xu Yuanchong] 2004: 83-84.&lt;br /&gt;
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Xu Shen 许慎. (2013)《说文解字》[Z]. [Shut-wen chieh-tzu] 2013: 1458&lt;br /&gt;
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Yang Bojun 杨伯峻. (2009)《论语释注》[Z]. [Annotation Analects] 2009: 213, 214, 215,2, 11, 23,&lt;br /&gt;
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Ku Hungming 辜鸿铭.(2011)《辜鸿铭英译&amp;lt;论语&amp;gt;》[M]. [The Discourses And Sayings of Confucius] 2011&lt;br /&gt;
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Yuanchong, Xu. (2013) Thus Spoke the Master[M]. Beijing: Dolphin Books, 2013: 12, 18.&lt;br /&gt;
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=杨柳青 Bian Zhilin's Literary Translation Theories and Practice  ——Take His Translation of Romantic Poems as examples=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Bian Zhilin is a famous Chinese translator and poet. He absorbed traditional translation theories dialectically and created translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; from the perspective of literary translation. Specifically, &amp;quot;Replacing foot with dun&amp;quot; is his poetry translation strategy. This paper will analyze Bian Zhilin translations of some romantic poems and shows some critical thinking about his literary translation theories.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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&amp;quot;Faithfulness, Similarity and Translation&amp;quot;; &amp;quot;Replacing Foot with Dun&amp;quot;; Romantic Poetry&lt;br /&gt;
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===题目===&lt;br /&gt;
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卞之琳文学翻译理论和实践 ——以其浪漫主义诗歌译作为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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卞之林是著名的中国翻译家、诗人。他辩证地吸收传统翻译理论，从文学翻译的角度创立了“信、似、译”的翻译理论。 具体而言，“以顿代步”是他的诗歌翻译策略。本文将对卞之琳的浪漫主义诗歌译作进行分析，并对其文学翻译理论提出一些批判性性思考。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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“信、似、译”；“以顿代步”；浪漫主义诗歌&lt;br /&gt;
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===Chapter 1 Introduction of Bian Zhilin and Romanticism===&lt;br /&gt;
====Introduction of Bian Zhilin====&lt;br /&gt;
Bian Zhilin is a representative of Chinese modernist poetry, a famous literary critic and literary translator. He translated foreign literature especially poetry and Shakespeare's plays. He has devoted his whole life to the literature and cultural exchanges between China and foreign countries. He is known as &amp;quot;the master of Poetry and the leading scholar in translation in China&amp;quot;. He dialectically absorbed previous translation theories and formed his unique translation thoughts. His famous works include ''Leaves of Three Autumns'' which is his first volume of Poetry and contains verses filled with the melancholy and despair, ''Fish Eyes Collection'', ''The Han Garden Collection'' and ''Poems of a Decade'' and so on.&lt;br /&gt;
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====Introduction of Romanticism====&lt;br /&gt;
Romanticism is a reaction against the Enlightenment and rationalism in 18th century, and a rejection of the precepts of order, calm, harmony, balance, idealization, and rationality that typified in classicism and neoclassicism. English Romanticism is generally defined to begin in 1798 with the publication of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads and end in 1832 with Walter Scott's death. Romanticists place the individual at the center of art and make literature most valuable as an expression of his or her unique feelings and particular attitudes and make its accuracy a portraying the individual's experience. &lt;br /&gt;
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Romanticism is a period of poetry. During this period, many poets created plenty of wonderful poems which vividly show the beauty of nature and humanistic thoughts. English romantic poets contain the elder generation and the younger generation. The elder generation, also called &amp;quot;lake poets&amp;quot; includes William Wordsworth, Samuel Taylor Coleridge and Robert Southey and so on. The younger generation includes George Gordon Byron, Percy Bysshe Shelley and John Keats and so on. Besides, William Blake also deserves attention. He is a pre-romanticist and a forerunner of the romantic poetry of the 19th century. In this paper, I will analyze poems of William Blake, William Wordsworth and Percy Bysshe Shelly to show Bian Zhilin's translation theories.&lt;br /&gt;
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===Chapter 2 Bian Zhilin's Literary Translation Theories===&lt;br /&gt;
====&amp;quot;Faithfulness, Similarity and Translation&amp;quot;====&lt;br /&gt;
Bian Zhilin is a famous poet, translator and literary researcher in China. For decades, he not only made remarkable achievements in the field of poetry and Chinese and foreign literature studies, but also left a valuable fortune in literary translation, especially in poetry translation. Bian Zhilin has formed clear and instructive translation thoughts and theoretical views through her long-term translation practice. These translation thoughts and theoretical views influenced his translation behavior and effect, formed his exquisite translation art, and also had a great influence in the field of translation. He broke through the traditional translation theories and put forward the translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot; which is based on dialectically absorbing and reasonably sublating the traditional translation theories.&lt;br /&gt;
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=====Faithfulness=====&lt;br /&gt;
It is well-known that &amp;quot;faithfulness, expressiveness and elegance&amp;quot; created by a modern Chinese translator Yan Fu has become the most widely spread and popular translation standards in history of modern Chinese translation. And it has always been in the mainstream in the field of translation in China. There has been a long debate in Chinese translation field around &amp;quot;faithfulness, expressive and elegance&amp;quot;. However, &amp;quot;faithfulness&amp;quot; put forward by Bian Zhilin has achieved the transcendence and unification of this debate. &lt;br /&gt;
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======Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
According to Yan Fu, &amp;quot;faithfulness&amp;quot; means a translation should be faithful to the content of the original which is the first requirement of translation. &amp;quot;Expressiveness&amp;quot; means a translation should be fluent and articulate. &amp;quot;Elegance&amp;quot; means a translation should use elegant words so as to make the translation literary (Luo Xinzhang 136). Yan Fu believed that only elegant words can express the essence of original text. And he advocated translator used classical Chinese before Han Dynasty, namely, pre-Qin period. In fact, Yan Fu translated a lot of works in accordance with this criterion. &lt;br /&gt;
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======Debates around Yan Fu's &amp;quot;Faithfulness, Expressiveness and Elegance&amp;quot;======&lt;br /&gt;
Many speakers thought highly of Yan Fu's &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, and this criterion once became the only standard for evaluating the quality of translation. Many literary translators like Liang Qichao, Lu Xun praised this criterion.&lt;br /&gt;
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Though &amp;quot;Faithfulness, expressiveness and elegance&amp;quot; has been widely accepted, there were still many doubts about this criterion. Most translators acknowledged Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot;, but they doubted &amp;quot;elegance&amp;quot;. For example, Chen Xiying, a famous Chinese female translator, opposed &amp;quot;elegance&amp;quot; because she thought &amp;quot;faithfulness and expressiveness&amp;quot; is quite enough for non-literary works and &amp;quot;elegance&amp;quot; is not necessary. Even for literary works, &amp;quot;elegance&amp;quot; is not necessary since some characters in literary works are from countryside and their speeches apparently couldn't be elegant (Luo Xinzhang 401-402). &lt;br /&gt;
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However, though these opinions are different they have one thing in common: all these opinions divide &amp;quot;faithfulness, expressiveness and elegance&amp;quot; up and judge them separately. &lt;br /&gt;
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======Bian Zhilin's &amp;quot;faithfulness&amp;quot;======&lt;br /&gt;
Unlike most translators, Bian Zhilin has his own unique view. Bian Zhilin believes there is only one advisable standard in &amp;quot;faithfulness, expressiveness and elegance&amp;quot;, that is &amp;quot;faithfulness&amp;quot;. According to Bian Zhilin, &amp;quot;faithfulness&amp;quot; means being loyal to the original text comprehensively, not only to the content of the original text, but also to the form (Bian Zhilin 503). It seems that there is no apparent difference between Yan Fu's faithfulness and Bian Zhilin's faithfulness. But that's not the case. &lt;br /&gt;
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Firstly, Bian Zhilin doesn't totally deny the value of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. His faithfulness is mainly for literary translation which aims to highlight the artistic features of literary translation. Bian Zhilin believes that literary translation is an artistic and creative activity which not only includes language conversion but also involves the knowledge of literature, aesthetics, literature and art. He thinks &amp;quot;faithfulness, expressiveness and elegance&amp;quot; lays too much emphasis on the content and form of language which is not suitable for literary translation. &lt;br /&gt;
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Secondly, Bian Zhilin opposed the artificial separation of &amp;quot;faithfulness, expressiveness and elegance&amp;quot;. He thinks this separation is a kind of false perception which may cause the emphasis of one aspect and the neglect of the others. He thinks that artistic translation standard, strictly speaking, is only &amp;quot;faithfulness&amp;quot; which means the full fidelity to content and form. Actually, Bian Zhilin doesn't deny the existence value of expressiveness and elegance; instead, he seems &amp;quot;faithfulness, expressiveness and elegance&amp;quot; as a whole and &amp;quot;faithfulness&amp;quot; includes &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot;. Therefore, his faithfulness is comprehensive: both &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; are internalized in &amp;quot;faithfulness&amp;quot;.&lt;br /&gt;
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Thirdly, Bian Zhilin believes &amp;quot;faithfulness&amp;quot; in literary translation means translation should be loyal to original text both in content and form. In others words, it's not desirable that translation be better or worse than the original. Besides, he holds that &amp;quot;faithfulness&amp;quot; in translation is not absolute but relative and it needs artistic creation of translators(Li Changshuan 57). What's more, literary translators should have the confidence in translating the &amp;quot;spirit&amp;quot; of the original so as to make translation vivid and expressive.&lt;br /&gt;
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All in all, Bian Zhilin believes the content and form of literary works are unified and indivisible, so is &amp;quot;faithfulness, expressiveness and elegance&amp;quot;.  At the same time, he admits &amp;quot;faithfulness&amp;quot; is relative rather than absolute considering difference between language and culture. Therefore, Bian Zhilin's faithfulness is inheritance and innovation of traditional translation theory and has important theoretical value.&lt;br /&gt;
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=====Similarity=====&lt;br /&gt;
======Formal Similarity and Spiritual Similarity======&lt;br /&gt;
Formal similarity means translation preserves the linguistic form of the original which includes words, grammar, sentence structure, figures of speech and types or forms of literature and so on. Any two languages have something both common and different. Those common features are the bases of formal similarity of translation. &lt;br /&gt;
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Spiritual similarity, on the contrary to formal similarity, means getting rid of the bondage of language form such as words, grammar when it is necessary. And translators should use authentic translation to convey the artistic features of the original. Spiritual similarity was first put forward by Mao Dun and was further advocated and practiced by Fu Lei. It has become one of the dominant theories in Chinese translation theories.&lt;br /&gt;
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======Debates around Formal Similarity and Spiritual Similarity======&lt;br /&gt;
In the field of Chinese translation, translators debated a lot around formal translation and spiritual translation. Many translators believe formal translation is more advisable than spirit translation. But others think differently. For instance, Chen Xiying believed there were three kinds of &amp;quot;faithfulness&amp;quot;, namely spiritual similarity, meaning similarity and formal similarity, among which spiritual similarity is superior, meaning similarity is the second and formal similarity is inferior. Chen Xiying held that formal similarity ignores the writing style of the original though it conveys the meaning of the original completely. Meaning translation is better than formal translation because it focuses on not only what the original writer says but also how he says it. But meaning translation is much more like imitation which cannot grasp the &amp;quot;spirit&amp;quot; of the original. Spirit translation, however, is the exact way to convey the &amp;quot;spirit&amp;quot; of the original. Besides, Yan Fu is another representative who pays more attention to spirit similarity than to formal similarity (Luo Xinzhang 694).&lt;br /&gt;
======Bian Zhilin's &amp;quot;Similarity&amp;quot;======&lt;br /&gt;
Bian Zhilin took a stand against the long-standing debate around formal similarity and spiritual similarity. In his opinion, there is only one word between formal similarity and spiritual similarity that is advisable——&amp;quot;Similarity&amp;quot;. Bian Zhilin holds that literary work is a unity of content and form; &amp;quot;form&amp;quot; and &amp;quot;spirit&amp;quot; in literary translation is complementary. On the one hand, &amp;quot;form&amp;quot; is the basis of &amp;quot;spirit&amp;quot; which means without concrete form, the spirit and artistic value of literary works can only be empty talk. On the other hand, &amp;quot;spirit&amp;quot; is the life of &amp;quot;form&amp;quot; which means literary works without &amp;quot;spirit&amp;quot; likes people without soul, which can only be empty body and meaningless form (Bian Zhilin 551).&lt;br /&gt;
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&amp;quot;Similarity&amp;quot; which was put forward by Bian Zhilin, actually contains the similarity both in formal similarity and spiritual similarity. In other words, ideal literary translation should achieve the unity of form and spirit. Bian Zhilin thinks literary translation can only achieve similarity with the original but not sameness (Bian Zhilin 8-9), which not only recognizes the difference between the original and the translation, but also acknowledges translators' creative efforts.&lt;br /&gt;
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=====Translation=====&lt;br /&gt;
======Literal Translation and Free Translation======&lt;br /&gt;
Literal Translation means expression forms and syntactic structure of the translated text should be as consistent as possible with the original when translators convey the meaning of the original text. Free translation, however, means translators should break the linguistic form of the original text and express the meaning of the original by using the customary expressions of the target language.&lt;br /&gt;
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======Debates around Literal Translation and Free Translation======&lt;br /&gt;
The debates between literal translation and free translation in the history of western translation can be date back to Cicero (106BC-43BC). Cicero opposed &amp;quot;word for word translation&amp;quot; (literal translation) which was deemed as &amp;quot;interpreter's translation&amp;quot; and advocated &amp;quot;sense for sense translation&amp;quot; (free translation) which was deemed as &amp;quot;orator's translation&amp;quot;(Tan Zaixi 24). Cicero's distinction about translation paved the way for following translators. For example, John Dryden published his views on literal translation and free translation. Dryden made distinction between metaphrase, phrase and imitation which was an extension of literal translation and free translation. What's more, Newmark thinks literal translation is preferred when the effect is the same (Newmark 39). And Nabokov holds that literal translation is true translation because it can convey the exact contextual meaning of the text as accurately as possible (Nabokov viii).&lt;br /&gt;
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======Bian Zhilin's Translation======&lt;br /&gt;
Bian Zhilin thinks only &amp;quot;translation&amp;quot; is advisable over the long-standing dispute over literal translation and free translation. Translation contains following meanings (Bian Zhilin 8).&lt;br /&gt;
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Firstly, literal translation and free translation are not contradictory but complementary. Too much emphasis on either side will only have a bad effect on literary translation. Bian Zhilin also criticizes translations that put too much emphasis on the source language or the target language.&lt;br /&gt;
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Secondly, translation cannot be creation. Translation should be based on the original text, not personal creation. But Bian Zhilin doesn't deny the creativity in translation and thinks the creativity is the life of translation as long as it is based on the original.&lt;br /&gt;
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====Bian Zhilin's Poetry Translation Strategies====&lt;br /&gt;
Absorbed thoughts from former and contemporary poets, Bian Zhilin created his poetry translation strategies. That is to translate English poetry in a poetical and metrical way and replace foot with dun. These strategies not only consider the western poetry patterns, but also considers the characteristics of Chinese, which has strong feasibility. Bian Zhilin's poetry translation strategies are closely related with his literary translation theory of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
=====Translating Poetry in A Poetical and Metrical Way=====&lt;br /&gt;
Bian Zhilin thinks that poetry is more a unity of content and form than other literary forms. Therefore, poetry translation includes both translation of poetry content and form. Bian Zhilin thinks poetry translation should be loyal to the original poem not only in content but also in form. Poems should be translated into the form of poem rather than prose. If the original poem is free verse, then translated version also should be free verse. If the original poem is metrical poem, then translation also should be a metrical one. (Bian Zhilin, 319) The coincidence between form and content in poetry translation is an embodiment of translation thought of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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Meter is an important feature of poetry, including rhythm, rhythm and arrangement of words and stanzas. There are many differences in meter among poetry of different languages. And different poets and works use different meters. These become major factors of difficulties in poetry translation. &lt;br /&gt;
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Bian Zhilin thinks translators should preserve the metrical features of the original poems. In other words, translators should translate poetry in a metrical way. Therefore, poems should be translated by using equivalent meter. To be more specific, translators should translate foreign poems by using commonalities between Chinese traditional metrical basis and foreign metrical basis. It's not just simple application of foreign poetry patterns nor of Chinese traditional poetry patterns. Instead, it's the crossover of the two poetry patterns.&lt;br /&gt;
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=====Replacing Foot with Dun=====&lt;br /&gt;
The key to the metrical problem of poetry translation is what is the metrical unit of the line, &amp;quot;word&amp;quot; (a syllable) as a unit or &amp;quot;dun&amp;quot; (syllables) as a unit. Bian Zhilin believes metrical poems should be translated in equivalent &amp;quot;duns&amp;quot; which can replace meters and this kind of translation is without the limit of word numbers. This theory is well thought out and based on rhythmic characteristics of Chinese. As Bian Zhilin analyzed that when we speak Chinese, we usually say two or three Chinese characters as a &amp;quot;dun&amp;quot; in most cases, one character at least as a &amp;quot;dun&amp;quot; and four characters at most as a &amp;quot;dun&amp;quot;. This is the internal rules of Chinese. Chinese poems constitute stanzas, stanzas constitute lines and lines constitutes &amp;quot;duns&amp;quot;. Therefore, &amp;quot;dun&amp;quot; is the natural rhythmic units of Chinese poetry and reveals poems' &amp;quot;inherent music-like rhythm and beat&amp;quot;.&lt;br /&gt;
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However, that &amp;quot;dun&amp;quot; is the basic metrical unit of the Chinese poetry doesn't mean the number of duns in each line is exactly the same. Bian Zhilin advocates dun of two characters and dun of three characters should be arranged alternately and adjusted mutually to meet the needs of poetic expression and produce an effect similar to feet in western poetry.&lt;br /&gt;
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===Chapter 3 Analyses of Bian Zhilin's Translation Practice===&lt;br /&gt;
Bian Zhilin put his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and poetry translation strategies of &amp;quot;replacing foot with dun&amp;quot; into practice. Here are three poem excerpts of romantic poets and Bian Zhilin's translation of them.&lt;br /&gt;
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====William Blake's ''The Tiger'' in ''Songs of Experience''====&lt;br /&gt;
William Blake is a representative of English romantic literature. He was hailed by 20th century critics as &amp;quot;the great prophet&amp;quot; who was a pioneer of romanticism. He broke neoclassical traditions in the 18th century and emphasized instinct, passion and imagination. Besides, Blake is a revolutionary poet and expressed strong revolutionary passion and rebellious spirit in his poem. The Tiger is one of his earliest lyrical poems. It eulogizes the shape and strength of the tiger. Here is an excerpt of it:&lt;br /&gt;
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Tiger! Tiger! Burning bright&lt;br /&gt;
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In the forests of the night,&lt;br /&gt;
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What immortal hand or eye&lt;br /&gt;
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Could frame thy fearful symmetry?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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老虎！|老虎！|火一样的辉煌，&lt;br /&gt;
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烧穿了|黑夜的|森林和|草莽，&lt;br /&gt;
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什么样|非凡的|手和|眼睛&lt;br /&gt;
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能塑造|你一身|惊人的|匀称？&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of dun.)&lt;br /&gt;
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The excerpt shows the praise for the tiger. In the poem, Blake uses symbolization and compares the tiger to a fire that destroys everything. Bian Zhilin represents the perfect creation of the creator with the symmetry of the tiger. &lt;br /&gt;
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Bian Zhilin translates the poem on the guidance of his theory of &amp;quot;faithfulness, similarity and translation&amp;quot;. In the first line of the excerpt, the use of &amp;quot;Tiger&amp;quot; with exclamation marks is a kind of call of the tiger——the king of the forest. Bian Zhilin translates them faithfully into &amp;quot;老虎！老虎！&amp;quot;. The third line is a rhetorical sentence that asks without answering, which reminds readers of the Creator——God, thus making the poetry profound. Bian Zhilin follows the rhythmic characteristics of the original poem and translates it artistically.  &lt;br /&gt;
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Bian Zhilin also makes his translation according to his theory of &amp;quot;replacing foot with dun”. The above stanza consists of four lines of trochaic tetrameter. Therefore, there are four feet in each line. And in translated version, there are four lines of four duns. Each duns contains two or three characters, thus make the structure of the translated poem neat and have a strong rhythm.&lt;br /&gt;
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====William Wordsworth's ''The“Lucy”Series''====&lt;br /&gt;
William Wordsworth is also an important poet in English romanticism. He was made poet laureate and he strongly promoted the innovation of English poetry and the development of the Romantic movement. He believes &amp;quot;Poetry is the spontaneous overflow of powerful feelings&amp;quot;. The following excerpt is taken from his &amp;quot;Lucy&amp;quot; series:&lt;br /&gt;
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A slumber did my spirit seal&lt;br /&gt;
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I had no human fears&lt;br /&gt;
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She seemed a thing that could not feel&lt;br /&gt;
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The touch of earthly years &lt;br /&gt;
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No motion has she now, no force&lt;br /&gt;
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She neither hears nor sees&lt;br /&gt;
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Rolled round in earth's diurnal course&lt;br /&gt;
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With rocks, and stones, and trees.&lt;br /&gt;
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'''Bian Zhilin's translation:'''&lt;br /&gt;
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迷糊|封住了|我的|精神；&lt;br /&gt;
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我没有|人世的|忧惶：&lt;br /&gt;
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她似乎|超然|物外，|不可能&lt;br /&gt;
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感觉到|岁月的|影响。&lt;br /&gt;
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现在|她无力了，|也不能|动弹；&lt;br /&gt;
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她不再|耳闻|目睹；&lt;br /&gt;
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卷在|地球的|日程里|滚转，&lt;br /&gt;
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混同了|岩石、|树木。&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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The above poem was written when Wordsworth went and stayed in Germany with his sister Dorothy in 1798 and 1799. It uses simple words and the meaning of the poems is quite clear. And Bian Zhilin's translation of the poem is quite faithful and vivid. &amp;quot;Slumber&amp;quot; in the first line of the original is translated into &amp;quot;迷糊&amp;quot; rather than &amp;quot;沉睡&amp;quot;, which gives readers a sense of &amp;quot;lazy charm&amp;quot;. And &amp;quot;fears&amp;quot; in the second line was translated into &amp;quot;忧惶&amp;quot;；it’s quite vivid and pertinent. Besides, the original poem consists of two stanzas with four lines of iambus. In each stanza, the first and the third line have four feet and the second and the fourth line have three feet. The whole poem follows the rhyme scheme of &amp;quot;a-b-a-b, c-d-c-d&amp;quot;. Bian Zhilin replaces feet in the poem with duns. There are fours duns in the first and the third lines and three duns in the second and fourth lines in translation. And the translated version follows the same rhyme scheme with the original. The whole poem is translated and expressed in quite appropriate way.&lt;br /&gt;
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====Percy Bysshe Shelley's ''Song to the Men of England''====&lt;br /&gt;
Percy Bysshe Shelley, as one of the famous romantic poets, pursued freedom and resisted violence in his short life. He encouraged people to stand and fight for a better life and was branded a &amp;quot;complete revolutionary&amp;quot; by Marx. And Song to the Men of England was written by Shelley after &amp;quot;Peterloo incident&amp;quot; in Manchester in 1819 to reveal the cruel nature of reactionary rulers and call on people to revolt bravely. Here is an excerpt of Song to the Men of England:&lt;br /&gt;
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Men of England, wherefore plough&lt;br /&gt;
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For the lords who lay ye low?&lt;br /&gt;
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Wherefore weave with toil and care&lt;br /&gt;
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The rich robes your tyrants wear?&lt;br /&gt;
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Wherefore feed and clothe and save&lt;br /&gt;
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From the cradle to the grave&lt;br /&gt;
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Those ungrateful drones who would&lt;br /&gt;
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Drain your sweat——nay, drink your blood?&lt;br /&gt;
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'''Bian Zhilin's Translation:'''&lt;br /&gt;
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英国的|人民，|为什么|犁地&lt;br /&gt;
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报答|老爷们|踩你们|成泥？&lt;br /&gt;
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为什么|辛勤|劳苦|去织布，&lt;br /&gt;
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让那些|恶霸|穿华丽|衣服？&lt;br /&gt;
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为什么|你们|从摇篮|到坟冢&lt;br /&gt;
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尽供给|和保养|那许多|雄峰？&lt;br /&gt;
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他们|不感激，|还非常|坚决，&lt;br /&gt;
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要喝干|你们的汗|——再加|血；&lt;br /&gt;
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(Annotation: The symbol &amp;quot;|&amp;quot; in the translation means the division of duns.)&lt;br /&gt;
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This excerpt is about the clash between two classes of society, the poor working class and the rich nobles. The major theme of this poem is exploitation. People plow for the sake of the lords, who are like drone bees that do no work but live off of the works of others. The narrator is urging the workers to make a stand as they are being treated unfairly. &lt;br /&gt;
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Bian Zhilin practices his poetry translation strategies of &amp;quot;translating poetry in metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; in this poem. In the original poem, each of two stanzas consists of four lines of iambic tetrameter, rhyming &amp;quot;a-a-b-b, a-a-b-b&amp;quot;. In the translated version, there are also two stanzas composed of four lines. And in each line, there are four duns which replaces the four feet in the original poem. The rhyme scheme in translated version is the same as that in the original.&lt;br /&gt;
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Bian Zhilin translate the poem faithfully and vividly. For example, he translates &amp;quot;lay ye low&amp;quot; into &amp;quot;踩你们成泥&amp;quot; which well preserves the images of the original work. And &amp;quot;tyrants&amp;quot; in the fourth line of the first stanza is translated into &amp;quot;恶霸&amp;quot; which is concise and accurate. In the second stanza, &amp;quot;From the cradle to the grave&amp;quot; modifies &amp;quot;the men of England&amp;quot; rather than those &amp;quot;ungrateful drones&amp;quot;, Bian Zhilin understands the linguistic structure of the poem and translates it into &amp;quot;你们从摇篮到坟冢&amp;quot;. &amp;quot;坟冢&amp;quot; is more formal than &amp;quot;坟墓&amp;quot; and it's suitable for poetry, from which we can see the precision of Bian Zhilin's choose of words. In the last line, Bian Zhilin uses a dash and the words &amp;quot;再加&amp;quot; to highlight the brutal nature of the rulers. Actually, this translation is a good practice of his literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot;.&lt;br /&gt;
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===Chapter 4 Critical Thinking of Bian Zhilin's Translation Theories===&lt;br /&gt;
There is no doubt that Bian Zhilin's translation theories greatly promoted the development of English poetry translation in China. His &amp;quot;faithfulness, similarity and translation&amp;quot; is the inheritance and innovation of Chinese traditional translation theories. And it indeed provides a new way for poetry translation. Besides, Bian Zhilin thinks poetry should be translated into poetry rather than prose. In other words, translators should translate poetry in a poetical and metrical way. He stresses the importance of the unity between form and content and thinks high quality translation should be a unity of content and artistic style of the original text.&lt;br /&gt;
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Despite Bian Zhilin's great contribution to literary translation theories, I think there are still some problems existing in Bian Zhilin's translation strategies. In Bian Zhilin's opinion, translators can replace foot with dun thus achieving similar rhythmical effect in Chinese version with the English original. It seems that it is a quite advisable and feasible method. Bur actually, it cannot be practiced widely. In English poetry, each foot consists of two syllables, which is fixed and regular. But things are changed in Chinese. The character numbers in each dun in Chinese are not fixed. There may be one or two or three or four characters in each dun, so different people may have different divisions of duns based on their different understanding of context. Therefore, the division of duns may be disordered and random, which makes &amp;quot;replacing foot with dun&amp;quot; not advisable in many cases.&lt;br /&gt;
&lt;br /&gt;
Another problem in Bian Zhilin's translation theories is the ignorance of metrical patterns of foot. In English poetry, there are different metrical patterns like iambus, trochee, spondee and pyrrhic and so on. But there are no such meters in Chinese. &amp;quot;Replacing foot with dun&amp;quot; only considers the correspondence of foot but ignores the correspondence of metrical patterns of foot, so Bian Zhilin's &amp;quot;translating poetry in metrical way&amp;quot; actually is not adequate. We know Chinese is a kind of tone language which has four tones. We can use four tones to correspond the metrical patterns of foot in English. But it's quite difficult in so far and still needs more exploration.&lt;br /&gt;
&lt;br /&gt;
===Chapter 5 Conclusion===&lt;br /&gt;
Bian Zhilin is a famous Chinese translator and poet. His literary translation theories of &amp;quot;faithfulness, similarity and translation&amp;quot; and &amp;quot;translating poems in a poetical and metrical way&amp;quot; and &amp;quot;replacing foot with dun&amp;quot; give us a lot of enlightenment in the translation of poems. This paper analyzes Bian Zhilin's translation of romantic poems to show his translation strategies. However, there are still some problems in his theories, for example, the division of duns are disordered and random which are based on the understanding of translators and there is no correspondence in metrical patterns of foot. These are the problems that are needed to be considered and solved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Blake, William. Songs of Experience[M]. New York: Dover Publications, Inc., 1971.&lt;br /&gt;
&lt;br /&gt;
Durrant, Geoffrey. William Wordsworth [M]. Cambridge: Cambridge University Press, 1979.&lt;br /&gt;
&lt;br /&gt;
Nabokov, Vladimir. &amp;quot;Forward&amp;quot;, A.S.Pushkin, Eugene Onegin, Nabokov, V.trans. London: Routledge &amp;amp; Kegan Paul, 1964/1975, p.viii.&lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. Approaches to Translation. Oxford: Pergamon, 1981, p39.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2002).《卞之琳文集》（中卷）. 安徽教育出版社, p503.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2000).《卞之琳文集》（上卷）. 安徽教育出版社, p8.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(1994).《从&amp;lt;西窗集&amp;gt;到&amp;lt;西窗小书&amp;gt;》.[英] 克里斯托弗·衣修伍德《紫罗兰姑娘》, 卞之琳译. 中国工人出版社, p8-9.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2007).《人与诗：忆旧说新》（增订本）. 安徽教育出版社, p319.&lt;br /&gt;
&lt;br /&gt;
Bian Zhilin卞之琳(2005). 《英国诗选》. 商务印书馆, p156.&lt;br /&gt;
&lt;br /&gt;
Chen Xiying陈西滢(1984).《论翻译》. 罗新璋编《翻译论集》. 商务印书馆, p401-402.&lt;br /&gt;
&lt;br /&gt;
Fu Lei傅雷(1984).《论文学翻译书》. 罗新璋编《翻译论集》. 商务印书馆, p694.&lt;br /&gt;
&lt;br /&gt;
Li Changshuan李长栓(2004). 《非文学翻译理论与实践》. 中国对外翻译出版公司, p57.&lt;br /&gt;
&lt;br /&gt;
Shen Suru沈苏儒(1998).《论信达雅：严复翻译理论研究》. 商务印书馆, p8.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi谭载喜(1991).《西方翻译简史》.商务印书馆, p24.&lt;br /&gt;
&lt;br /&gt;
Yan Fu严复(1984).《&amp;lt;天演论&amp;gt;译例言》.罗新璋编《翻译论集》. 商务印书馆, p136.&lt;br /&gt;
&lt;br /&gt;
=Atta Ur Rahman Exploring Translation Strategies: A Case Study of the English Translation of the Holy Quran= &lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
This study aims at diagnosing culture-specific items in the English translation of the Holy Quran and the strategies which were used to translate the CSIs. Translating CSIs can be a demanding task because such items have specific meanings in the culture and language in which they exist but not necessarily in others. Taking this fact into account, the present study investigates the strategies used in the translation of culture-specific items in the English translation of the Holy Quran. Moreover, the researcher explored the most frequently employed translation procedures. To achieve these goals, the descriptive approach is applied for the analysis of the translation of specific items of culture. The descriptive analysis is also used for the investigation of the translation procedures used therein. The findings of this study indicate that the use of cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedures were the second most frequently applied translation strategies which were followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. The results shows that the translation procedures are helpful (especially the target-oriented ones) in conveying the meaning of the text from Arabic into English in different ways. &lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
The Holy Quran, Translation Strategies/procedures, Culture-Specific Items, Newmark &lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
1. Overview &lt;br /&gt;
Translation that plays a crucial role in introducing the history and in transferring the culture of an area is a kind of communication between different languages. It is also illustrated “as the result of a linguistic-textual procedure in which a text in one language is re-contextualized in another language.” In the re-contextualization, studies on translation demonstrate that there are certain critical points (Munday, 2012) that are problematic for translators, especially, when dealing with vital cultural texts such as religious texts (Malmkjær, 2015; von Flotow, 2010). It helps to communicate and exchange information with people from different countries and cultures. Khammyseh (2015) argues that translation is one of the traditional communicating methods between communities all around the world. Jothiraj (2004) states that “translation plays an important role in the inter-lingual process of communication” (p. 1). Translation is essential for cultures and languages to exchange information. Newmark (1988) defines it as a craft in which a written message in a language is replaced by the same story in another language. According to him, Translation is the art of trying to translate what is written or expressed in one language into another language with the same message or expression. To accomplish a qualified translation, the translator needs to be aware of different aspects. Many scholars in translation have noticed that the difficulty for a translator is to translate texts which deals with religious concepts and cultural specific items. &lt;br /&gt;
&lt;br /&gt;
Nida (1964) indicated that translation is the way of finding natural issues in the TL close to the SL, in terms of message and style. Larson (1998) has acknowledged that dealing with religious and cultural items is the most difficult, both in finding equivalence and analyzing the source vocabulary. Among the many challenges that exist for the translator is to bring the concept of the SL to a deeper meaning in the TL, the main problem is how to give CSIs, the significance which is firmly connected to the particular cultural context. &lt;br /&gt;
&lt;br /&gt;
Culture plays a considerable role, Snell-Hornby (1988, p. 33) assumed that “Culture refers to all socially conditioned aspects of human life”. Another definition of culture is formulated by Goodenough (1957, p. 167). For him, culture is “what people have to learn as distinct from their biological heritage, must consist of the end product of learning: knowledge, in a most general, if relative, sense of the term. By this definition, we should note that culture is not only a material phenomenon; it does not consist of things, people, behavior, or emotions. It is rather the organization of these things. It is the forms of things that people have in their minds, their models for perceiving, relating, and otherwise interpreting them”. According to him, if the translator wants to understand a culture, she or he has to understand that culture is a mixture of belief and knowledge. &lt;br /&gt;
&lt;br /&gt;
The religious text and especially the Holy Quran have played a significant role in human life throughout history to guide human beings towards the right path. Translating religious text can be a hectic job. When it comes to religious texts like the Holy Quran, it might be even more hectic. The Holy Quran has a profound impact on the human lives of its believers. It spreads spiritual serenity and peace of mind. Lustig and Joline (2003, p.16) thought that “religion is an important institutional network that binds people to one another.” But sometimes believers of Islam (whether they are native or not native speakers of the language) face a tremendous difficulty when they want to understand the meaning of a certain lexical unit, lexis that can be identified as Quranic-specific words/phrases. &lt;br /&gt;
&lt;br /&gt;
This study is aimed to probe Newmark's (1988) translation procedures applied to translate cultural items from the SL (Arabic) to the TL (English) and to focus on translation strategies used by the English translator to transfer absolute and in-depth intended meanings of the CSI in the Holy Quran. If we examine Newmark's opinion (1988, p. 81), seventeen procedures may be needed by a translator in the process of translation. However, only a few translation procedures are relevant to this translation, they are Transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. These types of translation procedures are usually used to translate cultural terms contained in the text involving Surah Yusuf as a source language. Thus, in the relationship between translation and culture, the strategies offered should be understood as an attempt to make the translation easy to understand by the TR without blurring the message contained in the text written in the SL. &lt;br /&gt;
&lt;br /&gt;
===Translation and Culture===&lt;br /&gt;
&lt;br /&gt;
2. Translation and Culture &lt;br /&gt;
Culture and translation are intimately connected, for understanding the culture translation plays a crucial role. In every nation, there are multiple cultures which reflect how people behave, socially, traditionally and politically and also practice their specific languages. Languages have a complex system of communication that humans adapt from different cultural background. When someone wants to know more about any culture, it is necessary to know about that language. For understanding the language they need to translate it as one might not understand the particular language. Thus, translation fills the gap created by languages that is a very important aspect of translation.  &lt;br /&gt;
The translation is the process of translating a point or text from one language to another, we can also refer translation to moving of something from one place to another. Translation impacts also on our real life, in a way of transforming other cultures, norms and traditions into our culture. Translators play a vital role in culture and mediators between cultures, dedicated to linking the gap that repeatedly hinders effective communication between communities. According to Peter Newmark, “translators have been entrusted the elegant and highly-demanding task of representing cultures for decades” (Newmark 1988, 7). Newmark established connections concerning the relationship between culture and translating. In his book, he regards translation as a process of “representing the meaning of a text into another language in the way that the author planned the text” (Newmark 1988, 5). According to him, although this process has been supposed to be simple, in reality, translators have been facing the complex task of translating and conveying culture for decades, ever since countries began establishing relationships between one another. (Newmark 1988, 7).  &lt;br /&gt;
&lt;br /&gt;
In the history of translation studies, translation has been discussed through multiple routes which based on practicality and some theoretical aspects. For instance, Catford (1965) defined it as &amp;quot;the replacement of textual material in one language by equivalent textual material in another language” (Catford 1965, 20). According to Venuti’s translation is &amp;quot;the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be understandable to the target language reader” (Venuti 1995, 18). Schjoldager stated that “a translation is a text that expresses what another text has expressed in another language” (Schjoldager 2008, 19). Culture is a complex whole which includes knowledge, belief, art, law, morals, customs and many other capabilities and habits acquired by man as a member of society. The translation is no longer considered to be a mere cross-linguistic activity but it significantly is cross-cultural communication.”  &lt;br /&gt;
Since language reflects the way of life and basic parts of it, the process of translation cannot be done without the integration of cultural symbols into the construction of meaning. Hassan (2014), claimed that a good translation “is one that carries all the ideas of the original as well as its structural and cultural features” (Hassan 2014, 2). Hermanns (1999) contributed that translation should be recognized as a cultural act. It is a kind of linguistic-cultural activity that involves at least two languages and two cultural traditions. Similarly, translation is not just a verbal act; it is also cultural, which is an act of communication of cultures. Later, Hassan emphasized a good translation &amp;quot;is one that carries all the ideas of the original as well as its structural and cultural features&amp;quot; and that &amp;quot;reconstructs the cultural/historical context of the original&amp;quot;(Hassan 2014, 2). &lt;br /&gt;
These statements demonstrate that there is an interaction between translation and culture, Newmark (2001), illustrated that culture in translation competence is “the greatest hurdle to translation, at least the achievement of an accurate and decent translation&amp;quot; (Newmark 2001, 328). &lt;br /&gt;
Bearing in mind the general alliance among researchers regarding the importance of culture in translation, the translation activity is a question of transferring the correct meaning and that the translator has a productive role in transferring not only the linguistic system of the source text but also the cultural one. As such, it is extremely difficult to draw a borderline between translation and culture as they are inextricably overlaid and this connection leads to creative translation.&lt;br /&gt;
&lt;br /&gt;
2.1 Culture-Specific Items (CSIs) &lt;br /&gt;
Culture-specific items are notions that are specific to a particular culture. These concepts are using in different domains such as flora, fauna, food, clothes, housing, work, leisure, politics, law, and religion in the way of life. These cultural concepts are consist of different suggestion and approaches. For the denomination of these concepts, many scholars and linguists employed different names or terms, relatively different definitions are given and they tried to define some points that were related to the culture but they not defined even the name of the concept clearly. Scholars refer different names to these culture-specific items, Newmark uses the term cultural words. (Newmark 1988, 327) Christine Nord names them “culturemes” (Nord 1997, 9)  while in one of the newer studies, focused on the translation of culture-specific items, Mohammad Reza Shah Ahmadi and Fatemeh Nosrati employ a term culture-bound element (Ahmadi and Nosrati 2012, 1). &lt;br /&gt;
After a long time, some scholars prefer the terms “culture-specific item” (Aixela, 1997; Davies, 2003), others choose cultural words (Newmark, 2003) or culture-bound phenomena/concepts (Baker, 1992, Newmark, 2003, Robinson, 2003). In this study, the term “culture-specific item” is used as the basic term, as well as its abbreviation CSI, although other synonyms may be used to prevent repetition. &amp;quot;Culture-specific items are defined by different scholars according to their differences and similarities. Meanwhile, Mona Baker (1992) defines specific concepts of culture as “sourcelanguage words that express concepts unknown in the target culture” (Baker, 1992, 21). It may relate to religion, kind of food or social customs. Newmark suggests to culture-specific items as cultural words (Newmark 1988, 94). He further discussed that in many circumstances, cultural words are somewhat easy to detect in a text because they are closely related to a specific language and unable to translate word by word (Newmark 1988, 95). When they cannot be translated literary then he mentioned that the translators usually the purpose is to provide a descriptive-functional equivalent (Newmark 1988, 95).&lt;br /&gt;
&lt;br /&gt;
 2.1.1 Translation of CSIs in the Holy Quran&lt;br /&gt;
&lt;br /&gt;
 The Holy Quran is the most basic religious book for Muslims, the Quran was revealed to the prophet Muhammad (PBUH). The Quranic corpus, created in an early form of Classical Arabic, is traditionally believed to be a literal transcript of God’s speech and to constitute the earthly production of an uncreated and eternal heavenly original, according to the general view referred to in the Quran itself as “the well-preserved tablet” (al-lawḥ al-mahfūẓ; Qurʾān 85, P. 22). It has a heartfelt impact on human lives and their believers. It spreads spiritual stability and peace of mind. According to (Lustig and Joline 2003, 16) “Religion is an important institutional network that binds people to one another.” &lt;br /&gt;
Translating Quranic-specific words/phrases is considered a great challenge for the translators which requires an accurate interpretation and consciousness of the crucial functions of these Quranic-specific words/phrases. Therefore, they have to focus on a set of aspects to attain equivalence and then render the exact meaning.  The translation of the Holy Quran is a debatable process because Arabic is full of cultural-specific concepts with no proper equivalent in other languages; consequently, some equivalents fail to convey their cultural meaning thoroughly. The translation is seen as the process of reconstructing a text into other languages. In the Holy Quran, it is mentioned in the Surah of Yusuf: “we have sent it down as an Arabic Quran”, the translated text has been simply seen as a commentary, explaining, or paraphrasing of the source text. In general, exact translation never occurs; rather this can be a basic interpretation of the Holy Quran. In the process of translation of the Holy Quran, language and CSI items and rhetorical features were not inimitable and reproducible into other languages. &lt;br /&gt;
Translating CSIs is a strenuous task because such elements have special meanings in culture and language.&lt;br /&gt;
&lt;br /&gt;
===Types of Translation ===&lt;br /&gt;
3. Types of Translation &lt;br /&gt;
        Newmark (1988) determines 8 types of translation which are: &lt;br /&gt;
 &lt;br /&gt;
3.1 Word-for-Word Translation &lt;br /&gt;
This is usually indicated as an interlinear translation, with the target language immediately below the source language words. The source language word-order is preserved and the words translated singly by their most common meanings, out of context. These words are translated literally. Some of the uses of point-by-point translation are to understand the mechanics of the source language or to create a difficult text as a pre-translation process. &lt;br /&gt;
3.2 Literal translation &lt;br /&gt;
  In this type of translation, the grammatical structures of the source language are changed to the nearest target language equivalent but the written points remain the same to one another, out of context. &lt;br /&gt;
3.3 Faithful translation &lt;br /&gt;
 This translation attempts to reproduce the original exact meaning within the limitations of the TL grammatical structures. It also conveys cultural words and maintains an unusual degree of grammar and strength in translation. It tries to make the SL author completely loyal to the intent and reality of the text. &lt;br /&gt;
3.4 Semantic Translation &lt;br /&gt;
Semantic translation takes much of the aesthetic value of the source language text, making sense where appropriate so that there are no implications, wordplay or repetition roots in the finished version. It may translate less important cultural points by a culturally neutral third or active terms but not by cultural equation and it may also give the reader more small concessions. &lt;br /&gt;
3.5 Adaptation &lt;br /&gt;
This is an unrestricted form of translation. It is used mainly for plays and poetry, the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten (Ahmad 2015, 15). &lt;br /&gt;
3.6 Free Translation &lt;br /&gt;
The content without a form of the original or the matter without the manner is the productions of free translation. It is also known as intra-lingual translation and it is usually longer than the original. &lt;br /&gt;
3.7 Idiomatic Translation &lt;br /&gt;
 This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
3.8 Communicative Translation &lt;br /&gt;
This type of translation replicates the original message but degrades the depth of meaning by selecting meanings and dialogues that do not exist in the original. &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
===Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
4. Translation Strategies &lt;br /&gt;
Many theorists have used the term translation strategy extensively but with some significant differences in meaning and perspective that they see. Many theorists have used the approach of translation comprehensively but with some notable differences in meaning and vision as they appear. &lt;br /&gt;
&lt;br /&gt;
4.1 Aixela Translation Strategies: &lt;br /&gt;
According to Aixela (1996), translators need to choose several strategies based on the source language culture and target culture.  He distinguishes many of the translation strategies that apply to the translation of culture-specific items and at the same time, he tries to command by the level of their intercultural intervention. He divided it into two groups; conservative groups (5 approaches) and the substitution (6 strategies). &lt;br /&gt;
&lt;br /&gt;
4.1.1. Conservation: &lt;br /&gt;
In conservation, the less compelling process includes repetition, orthographic adaptation, linguistic translation, extratextual gloss and intratextual gloss. &lt;br /&gt;
&lt;br /&gt;
4.1.1.1 Repetition: In repetition, there is simply the transference of the culture-specific items from the ST to the TT. Thus, the translator keeps as much as possible the original reference (Aixela, 1996, p. 61). This approach is often used for languages that do not differ in the alphabet and most for names. &lt;br /&gt;
&lt;br /&gt;
4.1.1.2 Orthographic Adaptation: The orthographic adaptation involves writing or &lt;br /&gt;
transliteration, mainly when the original term is given in a different alphabet than the one used in the target culture. &lt;br /&gt;
&lt;br /&gt;
4.1.1.3 Linguistics translation: Linguistic translation emphasizes on the way where the translator chooses the source closest to the original text and increases his understanding by giving the TL version which is still relevant to the ST cultural system. &lt;br /&gt;
&lt;br /&gt;
4.1.1.4 Extra-textual Gloss: Here, the extra-textual gloss refers to additional information to the previously mentioned procedures, The translator uses one of the above strategies but considers it as a necessity to explain the meaning or concept of CSI. In this gloss, it can be footnotes, endings, words, ideas, translators in dictionaries, italics and so on. &lt;br /&gt;
&lt;br /&gt;
4.1.1.5 Intra-textual Gloss: It's like the past but the translator feels that he/she can include the globe as an indirect part of the text, not to distract the reader. &lt;br /&gt;
&lt;br /&gt;
4.2.1 Substitution &lt;br /&gt;
In substitution, According (Aixela, 1996) “that synonymy, limited universalization, absolute universalization, naturalization, deletion, and autonomous creation are encompassing here”. &lt;br /&gt;
&lt;br /&gt;
4.2.1.1 Synonymy: This strategy is a stylist used to avoid the constant repetition of culturespecific items in the ST. &lt;br /&gt;
&lt;br /&gt;
4.2.1.2 Limited Universalization: When the translator realizes that the culture-specific item is not clear to the reader or that another source CSI exists in the source language which can be replaced, replace it with data. Of course, the location is not as specific to the source language as the first one. &lt;br /&gt;
&lt;br /&gt;
4.2.1.3 Absolute Universalization: The only difference between limited universalization and absolute universalization is when the translator cannot find the best known CSI in the source language or prefers to eliminate the unusual concept and choose a neutral term. (Aixela, 1997, p.63). &lt;br /&gt;
&lt;br /&gt;
4.2.1.4 Naturalization: In this case “translator brings the culture-specific item into the TL culture” (Shokri, Ketabi, 2015, p.8). &lt;br /&gt;
&lt;br /&gt;
4.2.1.5 Deletion: When the CSI is “unacceptable ideologically or stylistically or it is not relevant enough for the effort of comprehension required for the readers” (Aixela, 1996, p. 64), or very clear that the translator does not want to use any strategy, they delete the CSI. &lt;br /&gt;
&lt;br /&gt;
4.2.1.6 Autonomous Creation: When the translator agrees to use non-existent cultural &lt;br /&gt;
reference in the ST.(Aixela, 1997). &lt;br /&gt;
&lt;br /&gt;
4.3 Mona Baker’s Translation Strategies &lt;br /&gt;
Baker’s strategies have been used by professional translators at word level in their translations, to deal with issues while performing the task of translation. (Baker, 1992). He suggests various procedures to work for unequal treatment at the point level, for example, translation by a more general word, translation by a more neutral / less obvious word, translation by paraphrasing, Using related words, and so on. She formulates the classification in different strategies, which are the following: &lt;br /&gt;
&lt;br /&gt;
4.3.1 Translation by a more general word: According to Baker, this has to do with the meaning of the proposition. Appropriately it works in many languages. &lt;br /&gt;
&lt;br /&gt;
4.3.2 Translation by a more neutral/ less expressive word: This is another strategy in terms of semantics it does with differences with obvious meaning. &lt;br /&gt;
&lt;br /&gt;
4.3.3 Translation by cultural substitution: This strategy involves placing culture-specific material that does not have the same predictive meaning as the target language material but may have the same effect on the target reader. &lt;br /&gt;
&lt;br /&gt;
4.3.4 Translation using a loan word: This strategy relies on culture-specific items, modern borrowing points plus interpretation concepts and buzz points. &lt;br /&gt;
&lt;br /&gt;
4.3.5 Translation by paraphrase using a related word: When the source material is written in the target language but separately, and when the frequency used in the source text is high, it will be natural in the target language. &lt;br /&gt;
&lt;br /&gt;
4.3.6 Translation by paraphrase using unrelated words: This strategy can be used when the concept in the source material is not lexical in the TL. &lt;br /&gt;
&lt;br /&gt;
4.3.7 Translation by omission: Losing phrases or words that are not vital to text development. &lt;br /&gt;
&lt;br /&gt;
4.3.8 Translation by an illustration: Here, use examples when the source word is not equal in the target language. Each theorist presents their strategies according to their point of view, however, Baker's (1992) translation strategies include the most applicable set of strategies, as it shows the strategies used by professional translators.&lt;br /&gt;
&lt;br /&gt;
===Cultural Categories  ===&lt;br /&gt;
5. Cultural categories &lt;br /&gt;
 &lt;br /&gt;
5.1.2 Ecology &lt;br /&gt;
In this type of cultural category, Newmark labels those words which have some similarities and differences in culture concerning the environment. For Example, animals, colors, astronomy, plants birds etc. They will also have some geographical features that can normally differ from other cultural terms in that they usually have no political, commercial value. &lt;br /&gt;
5.1.2 Material culture &lt;br /&gt;
Material culture is also known as artefacts, In the category of material culture, Newmark included Food, clothes, housing, transport, and communications and also those objects which are made by humans. For Example, Clothing, atoms, crops, vegetables, jewellery, drugs, planets etc. “Food is for many the most sensitive and important expression of national culture. The function of the generic clothes terms is approximately constant, indicating the part of the body that is covered, but the description varies depending on climate and material used, houses and town, and transport.” &lt;br /&gt;
5.1.3 Social culture &lt;br /&gt;
The social culture is divided by Newmark in two ways, they are work and leisure. For example, Trade, armour, literature, poets, markets, games. &lt;br /&gt;
5.1.4 Organisation &lt;br /&gt;
Newmark organizations are divided into five categories: political and administrative conditions, historical conditions, and international conditions. ‘The international community terms usually have recognized translations which are in• fact through-translations, and are now generally known by their acronyms', religious terms, artistic terms; “the translation of artistic terms referring to movements, processes and organizations generally depend on the putative knowledge of the readership. For example, adultery, business, corruption, sex, poverty, marriage, divorce etc.”  &lt;br /&gt;
 &lt;br /&gt;
5.2 Newmark Classification CSIs &lt;br /&gt;
Newmark (1988) established the classification of culture-specific items (CSIs) into five classes which are; &lt;br /&gt;
Table 1. Newmark classification of Culture-Specific Items.&lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
5.2.1 Categorization of CSIs in Surah Yousuf of the Holy Quran &lt;br /&gt;
 &lt;br /&gt;
Verse No. 	Terms 	English Translation 	Categories &lt;br /&gt;
1 	 الۡکِتٰبِ 	Book 	Material culture &lt;br /&gt;
&lt;br /&gt;
2 	 قرُۡءٰنًا 	Quran 	Material culture &lt;br /&gt;
&lt;br /&gt;
3 	  الۡقَصَصِ 	Narration 	Gesture &lt;br /&gt;
&lt;br /&gt;
4 	  رَايَۡتُ 	Dream 	Habit &lt;br /&gt;
&lt;br /&gt;
5 	 کَوۡکَبًا	Stars 	Ecology &lt;br /&gt;
&lt;br /&gt;
6 	 ال َّ شمۡسَ 	Sun 	Ecology &lt;br /&gt;
&lt;br /&gt;
7 	 الۡقَمَرَ 	Moon 	Ecology &lt;br /&gt;
&lt;br /&gt;
8 	 الۡاحََادِيۡثِ 	Events 	Organization &lt;br /&gt;
&lt;br /&gt;
9 	 يعَۡقوُۡبَ 	House of Yaqub 	Material culture &lt;br /&gt;
&lt;br /&gt;
10 	 يعَۡقوُۡبَ 	Yaqub 	 &lt;br /&gt;
&lt;br /&gt;
11 	 ابِۡرٰہيِۡمَ 	Ibrahim 	 &lt;br /&gt;
&lt;br /&gt;
12 	 اِسۡحٰقَ 	Ishaq 	 &lt;br /&gt;
&lt;br /&gt;
13 	 اقۡتلُوُا	Kill 	Social culture &lt;br /&gt;
&lt;br /&gt;
14 	 ارَۡضًا	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
15 	 الۡجُبِّ 	Pit 	Ecology &lt;br /&gt;
&lt;br /&gt;
16 	 ال َّ س َّ يارَةِ   	Wayfares 	 &lt;br /&gt;
&lt;br /&gt;
17 	 يٰۤابََانَا	Father 	 &lt;br /&gt;
&lt;br /&gt;
18 	 َّ يرۡتعَۡ 	Eat 	Social culture &lt;br /&gt;
&lt;br /&gt;
19 	 وَ يَلۡعَبۡ 	Play  	Social culture &lt;br /&gt;
&lt;br /&gt;
20 	 لَحٰفِظُوۡنَ 	Guard 	Social culture &lt;br /&gt;
&lt;br /&gt;
21 	 وَ اخََافُ 	Fear 	Habit &lt;br /&gt;
&lt;br /&gt;
22 	 الذِئّۡبُ 	Wolf 	Ecology &lt;br /&gt;
&lt;br /&gt;
23 	 عِشَاءًٓ 	Nightfall 	Ecology &lt;br /&gt;
&lt;br /&gt;
24 	 َّ يبۡکُوۡنَ 	Weeping 	Habit &lt;br /&gt;
&lt;br /&gt;
25 	 مَتاَعِنَا	Belongings 	Material culture &lt;br /&gt;
&lt;br /&gt;
26 	 قمَِيۡصِہٖ 	Shirt 	Material culture &lt;br /&gt;
&lt;br /&gt;
27 	 وَارِدہَمُۡ 	Water drawer 	Material culture &lt;br /&gt;
&lt;br /&gt;
28 	 دلَۡوَهٗ 	Bucket 	Material culture &lt;br /&gt;
&lt;br /&gt;
29 	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price 	Material culture &lt;br /&gt;
&lt;br /&gt;
30 	 درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin 	Material culture &lt;br /&gt;
&lt;br /&gt;
31 	 مِّصۡرَ 	Egypt 	 &lt;br /&gt;
&lt;br /&gt;
32 	 لِامۡرَاتَِہٖۤ 	Wife 	 &lt;br /&gt;
&lt;br /&gt;
33 	 الۡارَۡضِ 	Land 	Ecology &lt;br /&gt;
&lt;br /&gt;
34 	 اشَُدَّ هٗۤ 	Prime age 	 &lt;br /&gt;
&lt;br /&gt;
35 	 الۡابَۡوَابَ 	Door 	Material culture &lt;br /&gt;
&lt;br /&gt;
36 	 مَعَاذَ ّٰ  ِ 	Master 	Organization &lt;br /&gt;
&lt;br /&gt;
37 	 ال ُّ سوۡٓءَ 	Evil 	Habit &lt;br /&gt;
&lt;br /&gt;
38 	 الۡفَحۡشَاءَؕٓ 	Lewdness 	Habit &lt;br /&gt;
&lt;br /&gt;
39 	 عِبَادِنَا	Servant 	Organization &lt;br /&gt;
&lt;br /&gt;
40 	 وَ قَدَّ تۡ 	Ripped 	Social culture &lt;br /&gt;
&lt;br /&gt;
41 	 عَذاَبٌ 	Punishment 	Social culture &lt;br /&gt;
&lt;br /&gt;
42 	 ُّ يسۡجَنَ 	Prison 	Organization &lt;br /&gt;
&lt;br /&gt;
43 	 الۡعَزِيۡزِ 	Minister 	Organistion &lt;br /&gt;
&lt;br /&gt;
44 	 حُباؕ 	Love 	Social culture &lt;br /&gt;
&lt;br /&gt;
45 	 فتَٰىہَا	Slave 	Organization &lt;br /&gt;
&lt;br /&gt;
46 	 سِکِّيۡنًا	Knife 	Material culture &lt;br /&gt;
&lt;br /&gt;
47 	 مَلکٌَ 	Angel 	Organization &lt;br /&gt;
&lt;br /&gt;
48 	 فَاسۡتجََابَ 	Prayer 	Gestures &lt;br /&gt;
&lt;br /&gt;
49 	 خَمۡرًا	Wine 	Material culture &lt;br /&gt;
&lt;br /&gt;
50 	 خُبۡزًا	Bread 	Material culture &lt;br /&gt;
&lt;br /&gt;
51 	 رَاۡسِیۡ 	Head 	Material culture &lt;br /&gt;
&lt;br /&gt;
52 	 ال َّ طيۡرُ 	Birds 	Ecology &lt;br /&gt;
&lt;br /&gt;
53 	 ءَارَۡبَابٌ 	Gods 	Organization &lt;br /&gt;
&lt;br /&gt;
54 	 يٰصَاحِبَیِ السِّجۡنِ 	Prisoners 	Organization &lt;br /&gt;
&lt;br /&gt;
55 	 تعَۡبدُوُۡنَ 	Worship 	Gesture &lt;br /&gt;
&lt;br /&gt;
56 	 ال َّ شيۡطٰنُ 	Satan 	Organization &lt;br /&gt;
&lt;br /&gt;
57 	 الۡمَلِکُ 	King 	Organization &lt;br /&gt;
&lt;br /&gt;
58 	 بَقَرٰتٍ 	Cows 	Ecology &lt;br /&gt;
&lt;br /&gt;
59 	 خُضۡرٍ 	Green 	Ecology &lt;br /&gt;
&lt;br /&gt;
60 	 يٰبسِٰتٍ 	Dry 	Ecology &lt;br /&gt;
&lt;br /&gt;
61 	 سُنۡۢبلُٰتٍ 	Grain 	Material culture &lt;br /&gt;
&lt;br /&gt;
62 	 تزَۡرَعُوۡنَ 	Crops 	Material culture &lt;br /&gt;
&lt;br /&gt;
63 	 يغَُاثُ 	Rain 	Ecology &lt;br /&gt;
&lt;br /&gt;
64 	 يَعۡصِرُوۡنَ 	Juice 	Material culture &lt;br /&gt;
&lt;br /&gt;
65 	 النِّسۡوَةِ 	Women 	 &lt;br /&gt;
&lt;br /&gt;
66 	 ال َّ رسُوۡلُ 	Messenger 	Organization &lt;br /&gt;
&lt;br /&gt;
67 	 الۡعَزِيۡزِ 	Governor 	Organization &lt;br /&gt;
&lt;br /&gt;
68 		 ال	ّٰ صدِقِيۡنَ 	Truthful 	Habit &lt;br /&gt;
&lt;br /&gt;
69 	 الۡخَائِٓنيِۡنَ 	Betray 	Organization &lt;br /&gt;
&lt;br /&gt;
70 	 خَزَائِٓنِ 	Treasure 	Material culture &lt;br /&gt;
&lt;br /&gt;
71 	 مَ َّ کنَّ ا	Power 	Organization &lt;br /&gt;
&lt;br /&gt;
72 	 بِرَحۡمَتِنَا	Mercy 	Gestures &lt;br /&gt;
&lt;br /&gt;
73 	 يَتَّ قوُۡنَ 	Taqwa 	Habit &lt;br /&gt;
&lt;br /&gt;
74 	 الۡمُنۡزِلِيۡنَ 	Hospitality 	Habit &lt;br /&gt;
&lt;br /&gt;
75 	 رِحَالِہِمۡ 	Camel 	Ecology &lt;br /&gt;
&lt;br /&gt;
76 	 وَ ل َّ مَا فَتحَُوۡا	Family 	Organization &lt;br /&gt;
&lt;br /&gt;
77 	 بَابٍ 	Gate 	Material culture &lt;br /&gt;
&lt;br /&gt;
78 	 اِنِ الۡحُکۡمُ 	Sovereignty 	Organization &lt;br /&gt;
&lt;br /&gt;
79 	 الۡعِيۡرُ 	Caravan 	Organization &lt;br /&gt;
&lt;br /&gt;
80 	 لسَٰرِقوُۡنَ 	Thieves 	Organization &lt;br /&gt;
&lt;br /&gt;
81 	 السِّقَايَۃَ 	Bowl 	Material culture &lt;br /&gt;
&lt;br /&gt;
82 	 تاَ ّٰ  ِ	Swear 	Habit &lt;br /&gt;
&lt;br /&gt;
83 	 کٰذِبيِۡنَ 	Liars 	Habit &lt;br /&gt;
&lt;br /&gt;
84 	 وِّعَاءِٓ 	Bag 	Material culture &lt;br /&gt;
&lt;br /&gt;
85 	 درََجٰتٍ 	Rank 	Organization &lt;br /&gt;
&lt;br /&gt;
86 	 َّ موۡثِقًا	Pledge 	Social culture &lt;br /&gt;
&lt;br /&gt;
87 	 الۡحٰکِمِيۡنَ 	Judges 	Organization &lt;br /&gt;
&lt;br /&gt;
88 	 الۡقَرۡيَۃَ 	Town 	Material culture &lt;br /&gt;
&lt;br /&gt;
89 	 عَيۡنٰہُ 	Eyes 	 &lt;br /&gt;
&lt;br /&gt;
90 	 الۡبَشِيۡرُ 	News 	Social culture &lt;br /&gt;
&lt;br /&gt;
91 	 ابَوََيۡہِ 	Parents 	Organization &lt;br /&gt;
&lt;br /&gt;
92 	 الۡعَرۡشِ 	Thrown 	Organization &lt;br /&gt;
&lt;br /&gt;
93 	 يمَۡکُرُوۡنَ 	Devices 	Material culture &lt;br /&gt;
&lt;br /&gt;
94 	 وَ الۡارَۡضِ 	Earth 	Ecology &lt;br /&gt;
&lt;br /&gt;
95 	 ال َّ سمٰوٰتِ 	Heavens 	Ecology&lt;br /&gt;
&lt;br /&gt;
===Translation Procedure ===&lt;br /&gt;
&lt;br /&gt;
6. Translation Procedure&lt;br /&gt;
 &lt;br /&gt;
There are seventeen different kinds of translation procedures classified by Newmark. According to (Gallagher 1996, 31), “translation procedures are the technical devices to convey the message of a text in one language into another language.” The difference between translation procedure and translation methods discussed by (Newmark 1988, 81), “translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language.” &lt;br /&gt;
 &lt;br /&gt;
6.1 Transference &lt;br /&gt;
Transference is the way through which we convert the source language to target language and also contains transliteration or transcription. Transference is also known as loan words, there is no transformation in the spelling of the words that have been translated. &lt;br /&gt;
&lt;br /&gt;
6.2 Naturalization &lt;br /&gt;
Naturalization changes the word SL to its pronunciation, then TL to its original form. &lt;br /&gt;
Naturalization also adds new connections to external conditions. &lt;br /&gt;
&lt;br /&gt;
6.3 Culture equivalent &lt;br /&gt;
In this procedure, SL the cultural word is translated by the target cultural word. The use of the translation of this procedure is limited because it is not accurate, but it can be used in general texts, public and publicity, as well as for brief explanation to readers who do not understand the relevant source language culture. &lt;br /&gt;
&lt;br /&gt;
6.4 Functional Equivalent &lt;br /&gt;
This approach is the most accurate path of translating and it uses very neutral cultural points with a new specific term. &lt;br /&gt;
&lt;br /&gt;
6.5 Descriptive equivalent &lt;br /&gt;
This strategy is working for the description of the meaning or function of the source language. &lt;br /&gt;
&lt;br /&gt;
6.6 Synonymy  &lt;br /&gt;
This method of translation is applied when there is nothing to the same. &lt;br /&gt;
&lt;br /&gt;
6.7 Through-Translation &lt;br /&gt;
Through translation is the literal translation of common conflicts, the names of organizations and compound parts. &lt;br /&gt;
&lt;br /&gt;
6.8 Shifts or Transposition &lt;br /&gt;
This translation procedure involving a change in grammar from SL to TL. This change is done when there is a difference between the structure of the SL and the TL is reasonable. &lt;br /&gt;
&lt;br /&gt;
6.9 Modulation &lt;br /&gt;
This procedure is used in the translation of sentences, phrases and clauses. Here the translator looked at the message in the source language sentence from a different angle or a different way of thinking. This strategy is used when the translation of words with literal meaning does not produce a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
6.10 Recognized Translation &lt;br /&gt;
The translation process is manifested when the translator uses an authoritative or appropriate translation of an organization's term. &lt;br /&gt;
&lt;br /&gt;
6.11 Translation Label &lt;br /&gt;
This procedure is the appropriate one for the translation of a new institutional term, and it is a temporary translation of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.12 Compensation &lt;br /&gt;
This process manifests itself when there is a meaningful loss in one part, but compensation in the other part. &lt;br /&gt;
&lt;br /&gt;
6.13 Componential Analysis &lt;br /&gt;
In this procedure, the source language word translated into the TL by detailing the components of the meaning of the source language word. &lt;br /&gt;
&lt;br /&gt;
6.14 Reduction &amp;amp; Expansion &lt;br /&gt;
In this procedure, the elements of the word 'auto' removed and the elements of the word expanded in the target language. &lt;br /&gt;
&lt;br /&gt;
6.15 Paraphrase &lt;br /&gt;
This procedure appears when cultural words need more explanation. &lt;br /&gt;
&lt;br /&gt;
6.16 Couplets &lt;br /&gt;
In this procedure, two or more different procedures meet in one translation, couplets, triplets, quadruplets. &lt;br /&gt;
&lt;br /&gt;
6.17 Notes &lt;br /&gt;
When the additional information is added to the cultural words for the clarification of readers.&lt;br /&gt;
&lt;br /&gt;
===Analysis and Discussion ===&lt;br /&gt;
&lt;br /&gt;
7. Analysis and Discussion &lt;br /&gt;
&lt;br /&gt;
7.1 Introduction &lt;br /&gt;
This chapter highlights the procedure of the study and the analysis of culture-specific items in Surah Yusuf. This chapter explores the use of translation strategies in transferring meaning from the ST to the TL and the appropriateness of Newmark's model in interpreting the procedures that the translator applied during the translation process. &lt;br /&gt;
&lt;br /&gt;
7.2 Procedures &lt;br /&gt;
To account for the translation of CSIs in this research, the source text of the Holy Quran in Arabic and its English translation translated by Mufti Taqi Usmani were studied. After reading the whole Ayahs of Surah Yusuf and its translation, every Ayah and its translation in English were carefully analyzed to identify CSIs and the strategies used by the translator to translate them into English. After that, the classification of CSIs by Newmark (1988) has been accepted as the theoretical framework of this study aimed at analyzing culture-specific items. For the clarification, each procedure is interpreted and demonstrated with illustrations in Tables 1-9. &lt;br /&gt;
&lt;br /&gt;
7.3 Analysis and Discussion &lt;br /&gt;
After the categorizing the culture-specific items according to Newmark’s strategies, the researcher worked on the strategies for translating the culture-specific items applied in Surah Yusuf, including transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes; Then, he arranged the data gained in Tables 1-9 in order to show the cases of applying Newmark’s strategies for translating the culture-specific items. &lt;br /&gt;
The discussion section is devoted to the interpretation of each selected culture-specific word, the researcher presents a discussion of how he formulates the CSIs in Newmark strategies. &lt;br /&gt;
Below are the discussion points created for using each strategy; &lt;br /&gt;
&lt;br /&gt;
7.3.1 Transference: Transference includes transliteration and is the same as what is called transcription. The word then becomes a loan word. There were words that were transferred from the source text to the target text. These are presented in the following table.  &lt;br /&gt;
Table1.  &lt;br /&gt;
&lt;br /&gt;
Here are some examples of Transference applied in translating CSIs in Surah Yusuf: &lt;br /&gt;
 &lt;br /&gt;
Strategy 	           Source Text 	Target Text &lt;br /&gt;
                           	 قرُۡءٰنًا	Quran &lt;br /&gt;
 	                         ابِۡرٰہيِۡمَ 	Ibrahim &lt;br /&gt;
Transference               	 يعَۡقوُۡب	Yaqub &lt;br /&gt;
 	                            اِسۡحٰق	Ishaq &lt;br /&gt;
 	                         يَتَّ قوُۡنَ 	Taqwa &lt;br /&gt;
 &lt;br /&gt;
Words that have given in table 1 are transference words because these are conveyed to target language which is a different language writing system then from the source language, For example, the word  Quran is transliterated word and pronounce as same as like in source language قرُۡءٰنًا, so it is transcripted and also become a loan word. Similarly, all the mentioned words in table 1 are transference words. &lt;br /&gt;
7.3.2. Cultural Equivalent: Cultural equivalent purpose is to replace a cultural word in the source language with an, although not completely synonymous, target language word. &lt;br /&gt;
&lt;br /&gt;
Table 2.  &lt;br /&gt;
Examples of Cultural equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy  	                     Source Text 	Target Text &lt;br /&gt;
 	                                   اٰلِ يعَۡقوُۡب	House of Yaqub &lt;br /&gt;
 	                                    لَحٰفِظُوۡنَ 	Guard &lt;br /&gt;
                               	 بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 	                             درََاہمَِ مَعۡدوُۡدةٍَ  	Silver coin &lt;br /&gt;
 	                                     اشَُدَّ هٗ 	Prime age &lt;br /&gt;
Cultural Equivalent 	                 مَعَاذَ ّٰ  	Master &lt;br /&gt;
 	                                    الۡعَزِيۡزِ 	Minister &lt;br /&gt;
 	                                   فَاسۡتجََابَ 	Prayer &lt;br /&gt;
	                                 اِنِ الۡحُکۡمُ 	 	Sovereignty &lt;br /&gt;
	                              يٰصَاحِبَیِ السِّجۡن	 	Prisoners &lt;br /&gt;
	                                    الۡمَلِکُ 	 	King &lt;br /&gt;
                                  	 يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
                                  	 مَ َّ کنَّ ا	 	Power &lt;br /&gt;
 	 	 &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In Surah Yusuf, we have some words that are related to the cultural equivalent, Table 2 contains cases where cultural equality is applied. The word House of Yaqub is not completely synonymous to the ST اٰلِ يعَۡقوُۡب, it is a replaced word in the SL. The word minister is not completely synonymous to the word ST word  الۡعزَِيۡزِ. Similarly, the word Master in the TT is not synonymous to the word which is used in the ST   ّٰ مَعَاذَ, it is a replaced word. The original meaning of the word  فَاسۡتجََابَ  is to accepted, but here it is referred to Prayer which is not only the synonymous but also a replaced one; furthermore, all the words mentioned in table 2 are mostly not completely synonymous words but the cultural replacing words. &lt;br /&gt;
&lt;br /&gt;
7.3.3 Functional Equivalent:In functional equivalent, the word culture-free is used, &lt;br /&gt;
sometimes with a specific term; Therefore, it generalizes the word SL. &lt;br /&gt;
&lt;br /&gt;
Table3.  &lt;br /&gt;
&lt;br /&gt;
Examples of Functional equivalent applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                         	Source Text 	Target Text &lt;br /&gt;
                                       	 الۡقَصَصِ 	Narration &lt;br /&gt;
                                        	 رَايَۡتُ 	Dream &lt;br /&gt;
Functional equivalent                 الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	                                  ال َّ س َّ يارَةِ 	 	Wayfares &lt;br /&gt;
	                                          مِّصۡرَ 	 	Egypt &lt;br /&gt;
	                                       يمَۡکُرُوۡنَ 	 	Devices &lt;br /&gt;
 &lt;br /&gt;
In functional equivalent, culture-free words are used, sometimes a new specific term is used which generalizes the SL word. For example, in table 3 the word Events is used as a cultural free word that generalizes the ST  الۡاحََادِيۡثِ. The word Devices is a cultural free word and used as a new specific term to generalize the ST word  يَمۡکُرُوۡنَ. The word Narration is used in the TT as a cultural free word because it is not limited or bound to a single culture. The word narration can be used by every culture representative. &lt;br /&gt;
7.3.4 Descriptive Equivalent: It is using phrases in TT to explain the ST word. &lt;br /&gt;
Table4. &lt;br /&gt;
 Examples of Descriptive equivalent applied in translating CSIs in Surah Yousaf&lt;br /&gt;
  Strategy              	Source Text 	Target Text &lt;br /&gt;
                               	 کَوۡکَبًا	Stars &lt;br /&gt;
                            	 ال َّ شمۡسَ 	Sun &lt;br /&gt;
 	                              الۡقمََرَ 	Moon &lt;br /&gt;
Descriptive equivalent 	         عِشَاءًٓ 	And at Nightfall &lt;br /&gt;
 	                             وَارِدہَمُۡ 	Water drawer &lt;br /&gt;
 	                               سِکِّيۡنً 	Knife &lt;br /&gt;
 	                              الۡکِتٰبِ 	Enlightening book &lt;br /&gt;
 	                           ال َّ سمٰوٰتِ 	Heaven &lt;br /&gt;
 &lt;br /&gt;
The descriptive equivalent is, using phrases in TT to explain the ST word. For example Eleven stars and the sun and the moon a phrase used in the TT which explains  کَوۡکَبًا َّ و ال َّ شمۡسَ وَ الۡقمََرَ the ST words stars, sun and moon. Similarly, Enlightening the book is a phrase used in the target text which highlights the meaning of  الۡکِتٰبِ. &lt;br /&gt;
7.3.5 Componential Analysis:componential analysis is the initial comparison of a source language point to a selected language point that has the same meaning, but does not equate to one. &lt;br /&gt;
Table5. &lt;br /&gt;
 Examples of Componential analysis applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                       	Source Text 	Target Text &lt;br /&gt;
	                                     رَايَۡتُ 	 	Dream &lt;br /&gt;
	                                  ال َّ طيۡرُ 	 	Birds &lt;br /&gt;
Componential analysis                وَ يَلۡعَبۡ 	Play &lt;br /&gt;
	                                   يَعۡصِرُوۡنَ 	 	Juice &lt;br /&gt;
	                                  مَعَاذَ ّٰ  ِ 	 	Master &lt;br /&gt;
	                             يٰصَاحِبَیِ السِّجۡنِ 	 	Prisoners &lt;br /&gt;
 	                                  اِنِ الۡحُکۡمُ 	Sovereignty  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
Further, in justification in the translation of CSIs, the researcher analyzed the words that comparing the word base of a source language with the target language point that has the same meaning, but obviously not equals one. Like  رَايَۡتُ means to look or see while translating it to the TT it meanings changes to word Dream. The basic comparison of these two words is the same. &lt;br /&gt;
That is both words are related to cognition and eyes. For instance, other words are  ال َّ طيۡرُ  Birds,  اِ نِ الۡحُکۡمُ Sovereignty.  &lt;br /&gt;
7.3.6 Synonymy: Synonymy is a near target language equivalent. &lt;br /&gt;
Table 6.  &lt;br /&gt;
Examples of Synonymy applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy 	                      Source Text 	Target Text &lt;br /&gt;
                                     	 الۡکِتٰبِ 	Book &lt;br /&gt;
 	                                      قۡتلُوُا	Kill &lt;br /&gt;
 	                                       ارَۡضًا	Earth &lt;br /&gt;
Synonymy   	                           الذِئّۡبُ 	Wolf &lt;br /&gt;
 	                                       دلَۡوَه	Bucket &lt;br /&gt;
 	                                       خَمۡرًا	Wine &lt;br /&gt;
              	                         يٰبسِٰتٍ 	Dry  &lt;br /&gt;
 &lt;br /&gt;
The translator has used good equivalents for the words chosen in the Surah Yusuf. For instance,  الۡکِتٰبِ Book, Book in the TT and  الۡکِتٰبِ in the ST are the synonymous word. Few other examples are mentioned in table 6. &lt;br /&gt;
7.3.7 Through translation:Through-translation, is a literal translation of common conflicts, names of organizations and compound parts. It can also be called: click or loan translation. &lt;br /&gt;
Table7. &lt;br /&gt;
 Examples of Through-translation applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                      	Source Text 	Target Text &lt;br /&gt;
 	                                 اٰلِ يعَۡقوُۡبَ 	House of Yaqub &lt;br /&gt;
	                               غَيٰبَتِ الۡجُبِّ 	 	Into the bottom of a pit &lt;br /&gt;
	                                  بِرَحۡمَتِنَا	 	Mercy &lt;br /&gt;
Through Translation                الۡاحََادِيۡثِ 	Events &lt;br /&gt;
	 ُّ                                   يسۡجَنَ 	 	Prison &lt;br /&gt;
	                                  الۡعَزِيۡزِ 	 	Governor &lt;br /&gt;
	                                الۡخَائِٓنيِۡنَ 	 	Betray &lt;br /&gt;
	                            وَ ل َّ مَا فَتحَُوۡا	 	Family  &lt;br /&gt;
 &lt;br /&gt;
 &lt;br /&gt;
In through translation, the researcher found those words which have common collocations, name of organization or component of compounds in Surah Yusuf. Examples of through translations are House of Yaqub, اٰلِ يعَۡقوُۡبَ  is a component of the compound, Family وَ ل َّ مَا فَتحَُوۡا is the name of the organization, other examples are mentioned in table 7. &lt;br /&gt;
7.3.8 Modulation: Modulation occurs when the translator generates the original text message in TL text according to the current target language norms, as source language and target languages may differ visually. &lt;br /&gt;
Table8.  &lt;br /&gt;
Examples of in translating CSIs in Surah Yousaf Modulation applied  &lt;br /&gt;
Strategy                       Source Text 	Target Text &lt;br /&gt;
                                   	 يمَۡکُرُوۡنَ 	Devices &lt;br /&gt;
Modulation 	                         لَسٰرِقوُۡنَ 	Thieves &lt;br /&gt;
 	                                    مَ َّکنَّ ا	Power &lt;br /&gt;
                                   	 وَ قَدَّ تۡ 	Ripped  &lt;br /&gt;
 &lt;br /&gt;
The modulation occurs in the translation of culture-specific items when we are translating the word or phrase from the source text to target text according to the new norms and traditions in TT culture. For instance, Devices are the word that had been translated from the Arabic word  يمَۡکُرُوۡنَ which means to plan something while in English it is opposite which means tools. &lt;br /&gt;
7.3.9 Notes: Notes, additions, and glosses are additional information that a translator must add to the version; The additional information that translators add is usually cultural. &lt;br /&gt;
Table9. &lt;br /&gt;
 Examples of Notes applied in translating CSIs in Surah Yousaf &lt;br /&gt;
Strategy                     	Source Text 	Target Text &lt;br /&gt;
                  	               اِنِ الۡحُکۡمُ 	Sovereignty &lt;br /&gt;
Notes                             	 تعَۡبدُوُۡنَ 	Worship &lt;br /&gt;
 	                                ال َّ شيۡطٰنُ 	Satan  &lt;br /&gt;
 	                             بِثمََنٍ   ۢ بَخۡسٍ 	Paltry price &lt;br /&gt;
 &lt;br /&gt;
In this strategy, the translator adds some additional information to his version, The additional information that translators add is usually cultural. For example  اِنِ الۡحُکۡمُ  is a word which means that giving the order is limited or quality related to Al-Mighty God while the translator used the word sovereign which means authority. Worship is a word which means to follow or obey someone, the translator can use it in his point of view while in Arabic  تعَۡبدُوُۡ نَ which means a quality limited to God.&lt;br /&gt;
&lt;br /&gt;
===Conclusion and Recommendations===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
8. Conclusion and Recommendations &lt;br /&gt;
&lt;br /&gt;
          This chapter summarizes the findings of the study. It also provides some recommendations regarding the application of translation procedures in translation between language systems. &lt;br /&gt;
&lt;br /&gt;
8.1 Summary of the Findings &lt;br /&gt;
&lt;br /&gt;
  The translator applied nine translation procedures out of seventeen of Newmark’s translation procedures in the translation of the Surah Yusuf of the Holy Quran, namely, transference, cultural equivalent, functional equivalent, descriptive equivalent, componential analysis, synonymy, through translation, modulation and notes. The cultural equivalent strategy was the most frequent applied procedure. The descriptive equivalent and through translation procedure was the second most frequently applied translation procedure, It was followed by transference, functional equivalent, componential analysis, synonymy, modulation and notes. It is a descriptive study in which CSIs from ST translated to TT. &lt;br /&gt;
&lt;br /&gt;
8.2 Conclusion &lt;br /&gt;
&lt;br /&gt;
The present study purpose was to explore the CSIs in Surah Yusuf of the Holy Quran and to investigate which translation strategy proposed by Newmark (1988) were employed by the translator to overcome culture-specific items. Obviously, the researcher has worked hard to clear the way for future students of translation. Throughout the research, the researcher faced a lot of challenges and findings were revealed, some of them are the following; &lt;br /&gt;
&lt;br /&gt;
•	Between Arabic and English, there is a big cultural gap. Till now, this problem is considered as an unsolvable problem. &lt;br /&gt;
&lt;br /&gt;
•	Lack of reading and translating religious books. &lt;br /&gt;
&lt;br /&gt;
•	Many mistakes are made by the translators because they were unknown to the ST. &lt;br /&gt;
&lt;br /&gt;
•	The translators have to go through or review the previous translation of the Quranic scripture to solve the problem that they might face in the process of their translation. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The procedures used in this study will help the translator to render culture-specific terms accurately. Thus, the researcher worked well to fill the linguistic gaps between Arabic and English. Furthermore, Newmark’s translation procedures helped the translator make the translation sound more natural to the TR. It can be observed from the analysis that Newmark’s translation procedures were effective in translating the Islamic texts. The findings of the study might help students of translation and practitioners in the field of TS to get familiar with the most influential strategies in rendering cultural specific items. They can use the findings of the study to employ translation tasks in translations. Educational planners can use the findings of this study to specify the most influential, dominant strategies to conduct a target-oriented/sourceoriented translation. To sum up, it should be emphasized that the focus of this particular study was on religious genre. Investigating CSIs in different genres could lead to new areas of research for interested researchers. Accordingly, the information gained from this study may prove useful to translators, translation teachers, and student learners as it will help them improve their translation skills with the special attention of culture-specific items and will allow them Give texts when having a broad view of translation. Other researchers can derive similar effects from many of the findings of the same study. &lt;br /&gt;
This study is similar to other studies that might have several limitations which need to be taken into account. The study focused on one Surah translated by one translator. Examining different Surahs of the Holy Quran and their translations by other authors from different cultures might lead to interesting facts or they might confirm the findings of this study. Different translators might employ different strategies. Further research is needed to confirm or disconfirm the findings of this study.  Newmark's strategies are not limited to the cultural features of the language. But it also covers the linguistic specifications. To narrow down the subject of the study, the linguistic aspects of the text were ignored. Comparing these linguistic aspects could be another interesting topic and venue for further research. &lt;br /&gt;
Finally, It may be concluded that Newmark’s translation procedures are necessary for the translation of an Islamic text between two different language systems and cultures. However, the translator must be competent in using the translation procedures to provide an accurate translation. &lt;br /&gt;
&lt;br /&gt;
8.3 Recommendations &lt;br /&gt;
&lt;br /&gt;
The researcher furnished a set of recommendations in the light of the findings reached and the results obtained. The recommendations can make a helpful set of guidelines for both existing and potential translators in general and for translating religious texts of two languages that are not closely related. These recommendations are tentative and are subject to modification upon closer investigation by translation scholars and professionals: &lt;br /&gt;
&lt;br /&gt;
•	The researcher recommends that the study of translation procedures should be included in the university curriculum for students who study translation, to help them in solving the problems of translating religious texts. &lt;br /&gt;
&lt;br /&gt;
•	It is recommended for translastors to use the translation procedures appropriately in order to deliver the meaning of the source text correctly. &lt;br /&gt;
&lt;br /&gt;
•	The researcher also recommends examining the application of other kinds of translation procedures on Islamic texts based on other models such as Andrew Chesterman’s translation procedures. &lt;br /&gt;
&lt;br /&gt;
•	It would also be beneficial to investigate Newmark’s translation procedures to various types of texts such as medical texts and journalistic texts.&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
Abdi, H. (2019). Translating culture-specific items (CSIs) as a conundrum for Iranian MA translation students: Considering the level of study. Journal of new advances in English Language Teaching and Applied Linguistics, 1(1), 88-109. &lt;br /&gt;
&lt;br /&gt;
Aguado-Gimenez, P., &amp;amp; Pérez-Paredes, P. F. (2005). Translation-strategies use: A classroombased examination of Baker’s taxonomy. Meta: journal des traducteurs/Meta: &lt;br /&gt;
Translators' Journal, 50(1), 294-311. &lt;br /&gt;
&lt;br /&gt;
Ahmadi, M. R.S and Nosrati, Fatemah. (2012). Domestication and Foreignization Strategies in Translation of Culture-Specific Items. Translations of English-Persian Children’s Literature. San Francisco: Grin Publishing. Google Books. &lt;br /&gt;
&lt;br /&gt;
Al Saleh, R. A. (2019). An Application of Newmark's Procedures to Muhammad Abul Quasem's Alleman, J. C. Bee. W. Ulitkin, I. Files, F., Zetzsche, J., Chatonnet-Marton, P. &amp;amp; y del Árbol, E. V. Translation Strategies. &lt;br /&gt;
&lt;br /&gt;
Al-Sofi, B. B. M. A., &amp;amp; Abouabdulqader, H. (2020). Bridging the gap between translation and culture: towards a cultural dimension of translation. International journal of linguistics, literature and culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Baker, M., 1992. In Other Words: A Coursebook on Translation. London: Routledge, p.20–42. &lt;br /&gt;
&lt;br /&gt;
Blažytė, D., &amp;amp; Liubinienė, V. (2016). Culture-specific items (CSI) and their translation strategies in Martin Lindstrom’s&amp;quot; Brand sense&amp;quot;. Kalbų studijos, (29), 42-57. &lt;br /&gt;
&lt;br /&gt;
Bush, P. (1998) &amp;quot;Literary Translation.&amp;quot; In: M. Baker, ed. Routledge Encyclopedia of Translation Studies, London: Routledge, pp.127-130. &lt;br /&gt;
&lt;br /&gt;
Catford. J. C. (1965). A linguistic theory of translation. Oxford: Oxford University Press. &lt;br /&gt;
English Translation of Mohammad Al-Ghazali's Islamic Guidance.Literature and Culture, 6(1), 1-13. &lt;br /&gt;
&lt;br /&gt;
Gečaitė, L. (2020). Culture-Specific Items and Their Translation Strategies in Victoria Hislop's Novel The Sunrise.” (2020). &lt;br /&gt;
&lt;br /&gt;
Hassan, B. E. A. (2014). Between English and Arabic: A practical course in translation. &lt;br /&gt;
Cambridge Scholars Publishing. &lt;br /&gt;
&lt;br /&gt;
Hermans, T. (1999). Translation in systems. Manchester: St. Jerome Publication  House, J. (Ed.). (2014). Translation: a multidisciplinary approach. Springer. &lt;br /&gt;
Issa, A. L. S. M., &amp;amp; Hammood, L. H. R.- Quranic-Specific Phrases under the Study of Translation; Significance and Applications. &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. (33), p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Janfaza, E., Assemi, A., &amp;amp; Dehghan, S. S. (2012). Language, translation, and culture. &lt;br /&gt;
In International Conference on Language, Medias and Culture (Vol. 33, p. 83-87). &lt;br /&gt;
&lt;br /&gt;
Lambert, J. (1998) Literary Translation. In: M. Baker, ed. Routledge Encyclopedia of Translation Studies. London: Routledge, 130-134. &lt;br /&gt;
&lt;br /&gt;
Landers, Clifford E. (2001) Literary Translation: A practical guide. New Jersey University Press: Multilingual Maters. &lt;br /&gt;
&lt;br /&gt;
Lustig, Myron, W. and Koeser, Joline  (2003), Intercultural Competence: Interpersonal Communication Across Cultures, Boston: Allyn and Bacon. &lt;br /&gt;
&lt;br /&gt;
Malmkjær, K. (1993). Who Can Make Nice A Better Word Than Pretty? Collocation, Translation, and Psycholoinguistics. In: Baker, M., Francis, G. and Tognini-Bonelli, E. &lt;br /&gt;
eds. Text and Technology. Philadelphia/Amsterdam: John Benjamins Publishing Company. pp.213-32. &lt;br /&gt;
&lt;br /&gt;
Mosavat, S., &amp;amp; Rahimpour, S. (2016). The Most and Least Used Translation Strategies for &lt;br /&gt;
Conveying Culture-Specific-Items in Young Adult Literature from English into Persian. International Journal of Humanities and Cultural Studies (IJHCS) ISSN 23565926, 1853-1873. &lt;br /&gt;
&lt;br /&gt;
Munday, J. (1997). Systems in Translation: A computer-assisted systemic approach to the analysis of translation of García Márquez. Ph.D thesis, University of Bradford. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001). A Textbook of Translation. Shanghai: Shanghai Foreign Language &lt;br /&gt;
Education Press &lt;br /&gt;
&lt;br /&gt;
Newmark, Peter. (1988). A Textbook of Translation. New Jersey: Prentice-Halls &lt;br /&gt;
&lt;br /&gt;
Nord, Christiane. (1997). Translating as a Purposeful Activity: Functionalist Approaches &lt;br /&gt;
Explained. Manchester: St. Jerome. Accessed 10 November. 2018. Google Books Schjoldager, A. (2008). Understanding translation. Academica: Århus. &lt;br /&gt;
&lt;br /&gt;
Silalahi, M., &amp;amp; Lubis, S. (2013). Translation Procedures of Cultural Terms Found In Sejarah Bilingual For Students of Senior High School. &lt;br /&gt;
Valipoor, K., &amp;amp; andAzizeh Chalak, H. H. T. (2019). Cultural-specific items in translation of the Holy Quran by Irving: 43-51. &lt;br /&gt;
&lt;br /&gt;
Venuti, L. (1995). The translator’s invisibility: A history of translation. London and New York: &lt;br /&gt;
Routledge &lt;br /&gt;
&lt;br /&gt;
Widiarto, O. V. V. (2016). The translation procedures of cultural expressions applied in a game of thrones translated into Perebutan Tahta novel by Barokah Ruziati (Doctoral dissertation, Dian Nuswantoro University).&lt;br /&gt;
&lt;br /&gt;
=Zohaib Chand AN INTRODUCTION TO TRANSLATION STUDIES: AN OVERVIEW Intan Pradita= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_12]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===An Overview on Translation Studies  ===&lt;br /&gt;
&lt;br /&gt;
===Main Issues in Translation Studies: Equivalence or Variations ===&lt;br /&gt;
&lt;br /&gt;
=== Matthiessen's Parameter on Register Variations===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
= Muhammad Numan  A Study to Explore the Translation Strategies of Idiomatic Expression from Urdu to English ; A Case Study of Sadat Hassan Manto’s Short Story “Khol Do” =&lt;br /&gt;
[[Trans_Type_EN_13]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is necessary for developing knowledge and idea, but it also makes the people understand the language and culture of other people or countries. However, equivalence is essential during translation, especially when the translator wants to translate idiomatic expressions in the best possible way. Therefore it is necessary to follow up on some strategies during the translation process. The research work is carried out under the qualitative method with textual analysis techniques as significant. Mona Baker's model for idiomatic expression is explored with the help of different examples from collected data. The primary purpose of this study is to find out which types of strategies are being followed by the translator during the translation process. It was found that translation by paraphrasing, translation by similar words and meaning and translation by similar meaning and different words. &lt;br /&gt;
===Key words ===&lt;br /&gt;
Translation Strategies, Idiomatic expression, Sadat Hassan Monto, Urdu Literature&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Literature Review ===&lt;br /&gt;
&lt;br /&gt;
===Discussion and Analysis===&lt;br /&gt;
&lt;br /&gt;
=== Findings===&lt;br /&gt;
&lt;br /&gt;
===Conclusion ===&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Muhammad Saqib Mehran  Problems in Translation Study =&lt;br /&gt;
[[Trans_Type_EN_14]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
===Key words ===&lt;br /&gt;
&lt;br /&gt;
===Introduction ===&lt;br /&gt;
&lt;br /&gt;
===Ambiguity===&lt;br /&gt;
&lt;br /&gt;
===Lexical and Structural Mismatches===&lt;br /&gt;
&lt;br /&gt;
===Multiword units: Idioms and Collocations===&lt;br /&gt;
&lt;br /&gt;
===Summary===&lt;br /&gt;
&lt;br /&gt;
===Further Reading===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
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		<title>20211208 homework</title>
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		<updated>2021-12-07T10:01:41Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
&lt;br /&gt;
说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
&lt;br /&gt;
次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
&lt;br /&gt;
The next day, Yucun sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su asked him to ask the Zhen lady for the delicate Jiaoxing as concubine. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
&lt;br /&gt;
==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
&lt;br /&gt;
One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
&lt;br /&gt;
却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
&lt;br /&gt;
Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Daiyu, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Yucun looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Yucun looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Yue-ts'un eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Yucun asked: Is there anything new in the capital city? Zixing answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Yucun said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Yucun said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Zixing signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
Only his second son, Jia Jing, succeeded him as the official. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Jia Zhen, for his father had set his heart on becoming a fairy, so he succeeded to the official.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son, Jia She, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Jia Zheng, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Jia She inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Jia Zheng, was fond of studying as a child and was a man of upright so that he was his grandfather’s (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng give birth to her first child a boy named Jia Zhu, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:32, 6 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Zi Xing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Zheng tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Mr,Zheng didn't show his preference toward Jia Baoyu,but that old women still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Jia Zheng may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Yucun said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and the senior Zheng may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Zixing believed that Yucun took it so seriously that he was bursting with impatience to make clear the reasons within it. Yucun asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Zixing said: “ As you said, the winner will be the duke, and the loser will be the traitor?” Yucun said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Baoyu, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Zixing said, &amp;quot;no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: ‘Why do you call a sister when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?’ He answered it best, saying, ‘In a time of acute pain, if I call the sister's names, which may relieve the pain or not. However, I do felt the pain lessened a little when I called their names'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zi Xing said, &amp;quot;The three girls in Jia's mansion are not bad either. Jia Zheng's eldest daughter was named Yuanchun. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Jia He'concubine, her name was Yingchun; The third lady was born to Jia Zheng's concubine and was named Tanchun. The fourth lady is the sister of Jia Zhen in Ning' mansion, named Xichun:&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Jia family have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called Yuan Chun；And the rest followed Chun in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Jia She and Mr.Jia Zheng，and while at home,she was named Jia Min. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation’s son-in-laws. Jia Yucun says: That’s it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son’s child. Doesn’t Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot; -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;br /&gt;
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The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211208_homework&amp;diff=129587</id>
		<title>20211208 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211208_homework&amp;diff=129587"/>
		<updated>2021-12-07T09:46:28Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su asked him to ask the Zhen lady for the delicate Jiaoxing as concubine. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
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One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
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At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
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Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Daiyu, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Yucun looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Yucun looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Yue-ts'un eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Yucun asked: Is there anything new in the capital city? Zixing answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Yucun said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Yucun said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Zixing signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
Only his second son, Jia Jing, succeeded him as the official. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Jia Zhen, for his father had set his heart on becoming a fairy, so he succeeded to the official.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son, Jia She, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Jia Zheng, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Jia She inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Jia Zheng, was fond of studying as a child and was a man of upright so that he was his grandfather’s (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng give birth to her first child a boy named Jia Zhu, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:32, 6 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Zi Xing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Zheng tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Jia Zheng may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Yucun said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and the senior Zheng may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Zixing believed that Yucun took it so seriously that he was bursting with impatience to make clear the reasons within it. Yucun asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Zixing said: “ As you said, the winner will be the duke, and the loser will be the traitor?” Yucun said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Baoyu, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Zixing said, &amp;quot;no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: ‘Why do you call a sister when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?’ He answered it best, saying, ‘In a time of acute pain, if I call the sister's names, which may relieve the pain or not. However, I do felt the pain lessened a little when I called their names'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zi Xing said, &amp;quot;The three girls in Jia's mansion are not bad either. Jia Zheng's eldest daughter was named Yuanchun. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Jia He'concubine, her name was Yingchun; The third lady was born to Jia Zheng's concubine and was named Tanchun. The fourth lady is the sister of Jia Zhen in Ning' mansion, named Xichun:&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Jia family have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called Yuan Chun；And the rest followed Chun in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Lin，is the sister of Mr.Jia She and Mr.Jia Zheng，and while at home,she was named Jia Min. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation’s son-in-laws. Jia Yucun says: That’s it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son’s child. Doesn’t Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot;&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211201_homework&amp;diff=128453</id>
		<title>20211201 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211201_homework&amp;diff=128453"/>
		<updated>2021-11-29T06:47:23Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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因本书即记述女娲炼石补天所剩的那块“顽石”幻化为贾宝玉在人间经历的故事，故称。饫(yù玉)甘餍(yàn厌)肥──意谓饱食美味佳肴。饫、餍：均为饱食之意。&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 日语语言文学 女 202120081477==&lt;br /&gt;
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甘、肥：均指精美食品。蓬牖(yǒu友)茅椽(chuán船)──即茅草房屋。形容住屋简陋，生活清贫。&lt;br /&gt;
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Sweet and fat: both refer to exquisite food.  Canopies and rafters-- thatched house. It describes poor housing and hard life.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:44, 28 November 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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蓬、茅：都是野草。 牖：窗户。椽：纵向固定于檩条之上以支撑屋顶的木杠。绳床瓦灶──形容用具简陋，生活清贫。&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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绳床：是一种用绳子将木板穿连而成并可折叠的简单坐具，故又称“交床”、“交椅”。以其学自胡人(古代中原人对北方游牧民族的称谓)，故亦称“胡床”。这里只是形容床铺简陋，并非实指绳床。&lt;br /&gt;
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Rope bed is a kind of collapsible sitting equipment being simply  made of rope and wood. It was also called “connection bed” or “connection chair” because people  used to connect rope and planks to make it. Besides，that kind of way was learned from Hu （nomadic people lived in northern ancient China） ，so it was called“Hu bed” too. In this place，“Hu ded” is only an adjective to describe the shabby bed rather than a real bed.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 06:26, 29 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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瓦灶：烧饭用的粗陶器和土灶台。女娲(wā蛙)氏炼石补天——上古神话传说，事见《列子·汤问》、《淮南子·览冥训》、《太平御览·卷七八·女娲氏》，略谓：相传女娲是伏羲之妹，兄妹结为夫妻，产生人类；&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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女娲又以黄土造人，使人类大量增加。不料天崩地裂，大火熊熊，洪水泛滥，野兽横行，生民面临灭顶之灾。于是女娲挺身而出，炼五色石以补苍天，折四条鳌足以为天柱，才避免了这场浩劫。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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大荒山──或本《山海经·大荒西经》：“大荒之中，有山名曰大荒之山，日月所出入……是谓大荒之野。”无稽崖──曹雪芹杜撰的地名。“大荒山无稽崖”寓荒诞无稽之谈。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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青埂峰──曹雪芹杜撰的地名。其谐音为“情根”，寓贾宝玉的多情源于此。诗礼簪缨之族──意谓书香门第和官宦人家。&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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诗礼：读诗书，讲礼义。簪缨：古代显贵的冠饰，代指官宦。簪：是一种条状饰物，用以固定头发或连接冠与发髻，兼有装饰作用。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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缨：帽带。花柳繁华地──意谓繁华游乐之地。花柳：游乐之地。&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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温柔富贵乡──典出汉·伶玄《赵飞燕外传》：“(皇)后德(樊)嬺计，是夜进合德。帝(汉成帝)大悦，以辅属体，无所不靡，谓为温柔乡。谓曰：‘吾老是乡矣，不能效武皇帝求白云乡也。’”(合德：赵飞燕之妹。)形容美女成群而又荣华富贵的环境。&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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贾宝玉生长的贾府正是这样的环境。几世几劫——佛教用语。形容年代久远。 世：佛家将过去、现在、未来均称为“世”，故“几世”表示很长的时间。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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劫：佛家认为世界是一个不断毁灭与更生的过程，这样一个周期需要若干万年，谓之一“劫”，故“几劫”也表示很长的时间。偈(jì记)──佛教用语。本义为佛经中的颂词。引申为佛家诗。一般为四句，多富哲理或预言性。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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“无才”一诗──倩(qiàn欠)：请，请求，恳求。此诗实为曹雪芹自况，即无意于为朝庭效力。野史──与“官史”、“正史”相对。&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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原指私人记载轶闻琐事的文字。引申以指小说之类的作品。文君──指卓文君。汉代临邛富翁卓王孙之女，容貌美丽，才学优长，而夫死寡居。&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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司马相如饮于卓氏，以琴曲挑之，卓文君即与之私奔，遂为夫妻，以卖酒为生。事见《史记·司马相如列传》。子建──指曹植，字子建。三国魏武帝曹操第四子，著名才子。&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081493==&lt;br /&gt;
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《南史·谢灵运传》：“谢灵运曰：‘天下才共一石：曹子建独得八斗，我得一斗，自古及今共用一斗。’”遂有“八斗之才”的美誉。又《魏志》(见《太平御览》卷六○○引)：“文帝(曹丕)尝欲害植，以其无罪，令植七步为诗，若不成，加军法。&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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植即应声曰：‘煮豆燃豆萁，豆在釜中泣。本是同根生，相煎何太急！’文帝善之。”(事又见南朝宋·刘义庆《世说新语·文学》，文字略异)遂又有“七步之才”的美誉。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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“从此”四句──是借空空道人的彻悟，以说明世界上的一切都是虚幻的。 空、色、情：都是佛教用语。&lt;br /&gt;
The four sentences &amp;quot;from now on&amp;quot; are to explain that everything in the world is illusory. Emptiness, form and emotion are all Buddhist terms.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:29, 28 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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佛家认为，“空”是世界的本质，所谓万物不过是因缘遇合，倏生倏灭，并非真实存在；“色”是人所看到的表相，并非真实的存在；“情”是人对世界产生的感受，更属主观意识，而非真实的物质。&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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这就是佛家所谓“四大皆空”的“色空”观念，也即佛家主张禁欲主义的原因。《情僧录》──《红楼梦》的别名之一。因空空道人抄录此书而使之传世，并因看了此书而悟彻了空、色、情，故称。&lt;br /&gt;
This is the concept of &amp;quot;form and emptiness&amp;quot; in so-called &amp;quot;All the four elements are void &amp;quot; originated in Buddhism, that is, the reason why Buddhism advocates asceticism. &amp;quot;Ch'ing Tseng Lu&amp;quot; -- one of the nicknames of ''Dream of the Red Chamber''. K'ung K'ung, the Taoist, copied this book and handed it down to the world. After reading this book, he realized the emptiness, form and emotion, so he called himself Kongkong.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 15:10, 28 November 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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作者欲借此书名，说明“情”的虚幻。《风月宝鉴》──《红楼梦》的别名之一。风月宝鉴是太虚幻境警幻仙姑所造的一面宝镜，从正面看到的是美人，从反面看到的是骷髅，隐寓美人即骷髅。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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第十二回写贾瑞因贪看镜子的正面而丧命。作者以《风月宝鉴》为书名，是欲告诫人们要打破情关，跳出情海。故“甲戌本”凡例云：“《红楼梦》又曰《风月宝鉴》，是戒妄动风月之情。”(风月：指男女之情。)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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《金陵十二钗》──《红楼梦》的别名之一。因本书主要是为林黛玉等十二位金陵籍女子(即太虚幻境“金陵十二钗正册”中的女子)立传，故称。&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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地陷东南──古代神话传说，见于《淮南子·天文训》记载：共工与颛顼争夺帝位，怒而触不周山，致使东南大地塌陷下沉，所以东南低而西北高。这里并无特别含意，只是下句所说姑苏在中国东南，顺便提及。&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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西方──这里指佛家理想中的西方极乐世界，即所谓“佛国”，又称“西方净土”、“西方净国”、“西方世界”、‘极乐土’。《佛说阿弥陀经》：“从是西方，过十万亿佛土，有世界名曰极乐……彼土何故名为极乐？&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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其国众生无有众苦，但受诸乐，故名极乐。” 灵河——佛国中的河。佛经中说因龙住于河中，永不枯竭，故又称“龙泉”。一说指印度人称之为“圣水”的恒河。&lt;br /&gt;
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Living beings in his country have no suffering, but receive happiness, hence the name Of Happiness.&amp;quot; Ling River - the river in the Country of Buddhism. The Buddhist scriptures say that the dragon lives in the river and never dries up, so it is also called &amp;quot;Dragon Spring&amp;quot;. One refers to the Ganges, which Indians call &amp;quot;holy water&amp;quot;.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 06:16, 29 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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三生石──典出唐·袁郊《甘泽谣·圆观》：僧人圆观与友人李源同游三峡，见几个妇人在汲水，圆观对李源说：“其中孕妇姓王者，是某(我)托生之所。”并相约十二年后的中秋之夜在杭州天竺寺外相见。是夜圆观即死。&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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李源虽觉怪异，还是如期而至，只见一牧童高唱《竹枝词》曰：“三生石上旧精魂，赏月吟风不要论。惭愧情人远相访，此身虽异性长存。”李源才知圆观果已转生为牧童。“三生石”遂成为因缘前定的典故。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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曹雪芹顺手拈来，将其安在了灵河岸上。 三生：佛教用语。佛家认为人的灵魂不灭，轮回转世，每转生一次即为一生，故将前生、今生、来生谓之“三生”。&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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绛珠仙草：为曹雪芹所杜撰，即林黛玉的前身。甘露──是一种特殊的露水。典出《老子》第三二章：“天地相合，以降甘露。”古人认为是天地的精华，故甘露降被视为太平的祥瑞。&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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明·李时珍《本草纲目·水部一·甘露》(释文)引《瑞应图》：“甘露，美露也。神灵之精，仁瑞之泽，其凝如脂，其甘如饴，故有甘、膏、酒、浆之名。”&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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离恨天──民间传说谓：“三十三天，离恨天最高；四百四病，相思病最苦。”后即以“离恨天”比喻男女相恋而不能遂愿，抱恨终身的境地。曹雪芹加以利用，可谓恰到好处。&lt;br /&gt;
The Deep Hatred── folklore says: &amp;quot;thirty-three days, the deep hatred is the highest; four hundred and four kinds of sicknesses, lovesickness is the worst.&amp;quot; The latter refers to the situation of men and women falling in love and not being able to fulfill their wishes and regret for ever. Cao Xueqin to use, can be said to be just right.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 22:49, 28 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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秘情果、灌愁水──这是曹雪芹杜撰的，前者寓林黛玉对贾宝玉一往情深而难以言表，后者寓林黛玉将陷入深愁苦海之中。造历幻缘──经历虚幻的因缘。 造：通“遭”。遭受。 &lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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缘：佛家用语，即因缘。佛家将事物的发生、变化、消灭的主要条件谓之“因”，辅助条件谓之“缘”，所以世界不过是因缘变化的过程，而非物质的存在，因而一切都是虚幻的，也就是所谓“色空”。度脱──佛教和道教用语。指超度世人脱离有生有死的苦难，达到脱离生死的涅槃境界。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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功德──佛教用语。《大乘义章·十功德义三门分别》：“功谓功能，能破生死，能得涅槃，能度众生，名之为功。此功是其善行家德，故云功德。”后世多泛指念佛、诵经、布施、度人出家等为功德。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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因果──佛教用语。佛教指种什么因，结什么果，善有善报，恶有恶报，循环不爽。《涅槃经·遗教品一》：“善恶之报，如影随形，三世因果，循环不失。”火坑──佛教用语。&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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《法华经·普门品》：“假使兴害意，推落大火坑。念彼观音力，火坑变成池。”佛教谓众生轮回有六道，即天道、人道、阿修罗道、畜生道、饿鬼道、地狱道。后三道最苦，谓之“火坑”。这里用引申义，泛指人世间的苦难。&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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太虚幻境——太虚：指虚无飘渺的太空。出自《庄子·知北游》：“是以不过乎昆仑，不游乎太虚。” 幻境：虚幻的境界。出自唐·王维《为兵部祭库部王郎中文》：“深悟幻境，独与道游。”曹雪芹将二者组合，创造了一个虚构的仙境，当寓“虚无空幻”之意。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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“假作真”一联──意谓如果以假为真，真假必然混淆，那么真的也可能被当作假的；如果以无为有，有无必然混淆，那么有也可能被当作无。影射世人真假不分，是非不辨。&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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有命无运──古人认为人的先天禀赋的贵贱寿夭为“命”，而现实生活中的遭遇为“运”。“有命无运”就是虽有好的禀赋，却无好的机遇，所以将终生坎坷。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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“惯养”一联──菱花：指英莲将来改名香菱。空对雪澌澌：隐喻英莲将遭受冷落乃至虐待。 雪：“薛”的谐音，指薛蟠。&lt;br /&gt;
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One of the couplet &amp;quot;guanyang&amp;quot;--&amp;quot;''linghua''&amp;quot;（water chestnut）：it refers to Yinglian will change her name into &amp;quot;XiangLing&amp;quot;.&amp;quot;空对雪澌澌&amp;quot;(kong dui xue si si)metaphorically means Yinglian will be ignored and even abused. &amp;quot;雪&amp;quot;(xue) is homophonic with &amp;quot;薛&amp;quot;(xue) which points to XuePan.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:47, 29 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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澌澌：落雪的声音，形容大雪。 “菱花”两句暗指英莲虽被爹娘娇惯，将来却做薛蟠之妾，而且将受到冷落乃至虐待。 此联隐喻甄英莲及其家庭的命运。&lt;br /&gt;
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Gurgling: the sound of snow, used to describe heavy snow. The phrase “Water Chestnut” implies that although Ying Lian is spoiled by her parents, she will become Xue Pan's concubine and will be snubbed and even abused. This is a metaphor for the fate of Yan Ying lian and her family.&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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“好防”一联：此联暗指后文甄士隐家将于三月十五日遭火灾。三劫──佛教用语。“三阿僧祇劫”的省略。指菩萨修成正果所需的时间。泛指极长的时间。&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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北邙山──又作“北芒山”。本名邙山，因在洛阳之北，故名。东汉、魏、晋时王侯公卿多葬于此，后世即成为墓地的代称。&lt;br /&gt;
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Beimang Mountain is also known as “North Mang Mountain”.  Originally called Mang Mountain, it gets its existing name for the reason that it lies in the north of Luoyang in Henan Province. In the Eastern Han, Wei and Jin Dynasties, it boasted the burial ground of the feudal aristocrats, and later became synonymous with the cemetery.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 02:53, 29 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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“然生得”四句──意谓贾雨村生得一副福相。古人以为“腰圆背厚”、“面阔口方”、“剑眉星眼”、“直鼻方腮”皆为福相的特征，而贾雨村兼有，故下文说“怪道又说他必非久困之人”。此为贾雨村将来飞黄腾达作铺垫。&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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口占五言一律──意谓随口念出五言律诗一首。 口占：口头吟诗吟词。 五言律：“五言律诗”的简称，亦简称“五律”。诗体之一。&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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即每句五字的律诗，每首共八句四十字。如果每句七字，则称“七言律诗”，简称“七言律”或“七律”。如果每首超过十句(不论五言、七言)，则称“排律”或“长律”。&lt;br /&gt;
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This is a rhyme of five words per stanza, with eight stanzas of forty words each. If each stanza is seven words long, the poem is called a &amp;quot;seven-word rhyme&amp;quot;, or &amp;quot;seven-word rhyme&amp;quot; for short. If each stanza is longer than ten (whether five or seven), the poem is called a &amp;quot;line of rhythm&amp;quot; or &amp;quot;long rhythm&amp;quot;.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 04:36, 29 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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因其有一整套严格的格律规定，故称“律诗”。“未卜”一联──未卜：不可预知。 三生愿：指婚姻。 频：时时刻刻。 &lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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此联是贾雨村自谓欲与甄家丫鬟(后文才交代其名字为娇杏)结姻的愿望不知能否实现，因而增添了一种无法摆脱的愁绪。“自顾”一联──自顾风前影：这里化用了“顾影自怜”一典。&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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典出晋·陆机《赴洛道中作二首》其一：“伫立望故乡，顾影凄自怜。”意谓看着自己的身影也觉可爱。表示自我欣赏。 堪：能够或配得上之意。 &lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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月下俦：这里化用了唐·李复言《续玄怪录·定婚店》的故事：唐人韦固夜过宋城，见一老翁在月下翻看簿册，问之，才知是婚姻簿子。老翁并携赤绳，言其一旦用此赤绳系住一男一女之足，二人必成夫妻。后人即把“月下老人”奉为婚烟之神。&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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这里是成婚之意。此联是贾雨村一面顾影自怜，一面暗想：将来谁能做我的配偶？“蟾光”一联──蟾光：月光。&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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因相传月宫中有蟾蜍，故称。又暗用“蟾宫折桂”的成语。晋·郤诜获得举贤良方正对策第一名后，对晋武帝说：“臣举贤良对策，为天下第一，犹桂林之一枝，若昆山之片玉。”(事见晋·王隐《晋书》、通行本《晋书·郤诜传》)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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唐人将“折桂”之“桂”傅会为神话传说中月宫之“桂”，遂产生了“蟾宫折挂”这一成语。事见宋·叶梦得《避暑录话》卷下：“世以登科为‘折桂’，此谓郤诜对策东堂，自云‘桂林一枝’也。自唐以来用之……其后以月中有桂，故又谓之‘月桂’。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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而月中又言有蟾，故又改桂为蟾，以登科为‘登蟾宫’。”参见第九回“蟾宫折桂”注。 玉人：美人。这里暗指娇杏。 &lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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此联是贾雨村借月光而隐寓两层意思：一是希望自己能像月光那样到楼上去看他倾心的娇杏；二是企盼自己一旦金榜题名，必定先向娇杏求婚。&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“玉在”一联──玉在椟中求善价：典出《论语·子罕》：“子贡曰：‘有美玉于斯，韫椟而藏诸？求善贾而沽诸？’子曰：‘沽之哉，沽之哉！我待贾者也。’”&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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(斯：此，这里。韫椟：收藏在柜子或木匣里。贾：一说为商人，一说通“价”，皆通。沽：出售，卖掉。)后人即以“椟玉”、“椟藏”或“待贾而沽”、“待贾沽”、“待贾”、“待沽”等来比喻怀才待用或待时出山的人。 &lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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钗于奁内待时飞：典出汉·郭宪《洞冥记》卷二：汉武帝元鼎元年，宫中起造招仙阁，有神女以玉钗赠汉武帝，帝赐与赵婕妤。至汉昭帝元凤年间，宫人欲毁之，将匣子打开时，玉钗化白燕飞去。这里的意思与“玉在椟中求善价”相同。 &lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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此联表明贾雨村雄心勃勃，信心十足，以为自己犹如椟中之玉、匣中之钗，虽然暂时落魄，将来定能仕途得意，飞黄腾达。&lt;br /&gt;
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This part shows that Jia Yucun is ambitious and confident. He feels like a jade and hairpin in a box. Although he is down and out for the time being, he will be successful in his career in the future.&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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芹意──谦词。典出《列子·杨朱》：从前有人觉得芹菜味美，即向乡绅推荐并称赞，乡绅一尝，味道却很差，胃里也不舒服，在场的人都抱怨他，使他十分羞惭。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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后即以“芹意”、“芹献”、“献芹”、“芹曝”、“献曝”、“美芹”等代称菲薄的礼物。飞觥(gōng功)献斝(jiǎ假)──形容酒席间频频举杯、互相劝饮的热闹景象。觥、斝：是古代的两种酒器，这里泛指酒杯。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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飞觥：挥舞酒杯。献斝：本义为酒席上行酒令规定的饮酒杯数，这里引申为劝饮。“时逢三五”一诗──三五：十五日。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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这里指农历八月十五日中秋节。 满把清光：形容月光皎洁而明亮。 护玉栏：玉雕栏杆沐浴在月光之中。 &lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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此诗表示贾雨村的雄心壮志，即希望自己像高高在上的中秋之月，令万人仰慕。这是贾雨村仕途得意、飞黄腾达的预兆。“飞腾”两句──飞腾：飞黄腾达。接履：义同“接踵”。接二连三、接连不断之意。意谓将不断高升。&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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云霄：比喻高官显宦。这两句是说贾雨村的即兴诗就是其仕途得意、飞黄腾达的预兆。大比──隋、唐以后科举考试的泛称。以其为全国考生参加的考试，故称。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这里指最高一级的会试。明、清时代的科举考试每三年举行一轮，分为三级：头一年为院考，考生为府、县童生，考取者为生员，通称秀才；次年为乡试，考生为一省的生员(秀才)和在国子监肄业的监生，考取者为举人；&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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第三年为会试，考生为全国的举人，考取者为贡士，贡士再经殿试考中者为进士。春闱一捷──这里指考取进士。春闱：指会试。以其在春天举行，故称。 &lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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闱：这里指科举考试的考场。捷：本义为战胜、成功，引申为科举及第。黄道之期──即黄道之日。指六吉辰值日之日。《协纪辨方书·卷七·黄道黑道》)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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称：青龙、明堂、金匮、天德、玉堂、司命等六辰为吉神，此六辰值日的日子，诸事皆吉，故称 “黄道吉日”。投谒(yè叶)──本义为投递名帖求见。这里引申为持荐书投拜，以期关照。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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谒：晋见。黑道──“黑道日”的略称。六凶辰值日之日诸事皆凶，故称“黑道日”。见《协纪辨方书·卷七·黄道黑道》：“天刑、朱雀、白虎、天牢、玄武、勾陈者，月中黑道也。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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所理之方，所值之日，皆不可兴土功、营屋舍、移徙、远行、嫁娶、出军。”社火花灯──这里指元宵节表演各种杂耍，张挂各种灯笼。 &lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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社火：逢年过节百姓举行酬神赛会，表演各种杂耍，以示庆贺，并兼娱乐。 社：土地社。引申以泛指神。鹑(chú n纯)衣──典出《荀子·大略》：“子夏贫，衣若县鹑。”(县：通“悬”。)&lt;br /&gt;
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SheHuo(社火): on every New Year's festivals, people hold big rallies for pilgrimage and perform various acrobatics to celebrate and entertain. She(社): Land agency. Extended to refer to God in general. Quail(&amp;quot;鹑&amp;quot;chú n equals &amp;quot;纯&amp;quot;) clothes - comes from ''Xunzi: The Outline'': &amp;quot;Zi Xia is poor, and his clothes are like hanging(县) quails.&amp;quot; (&amp;quot;县&amp;quot;xian equals &amp;quot;悬&amp;quot;xuan.)--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 15:12, 28 November 2021 (UTC)&lt;br /&gt;
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SheHuo(社火): on every New Year's festivals, people hold big rallies for pilgrimage and perform various acrobatics to celebrate and entertain. She(社): Land agency. Extended to refer to God in general. Quail(&amp;quot;鹑&amp;quot;chú n equals &amp;quot;纯&amp;quot;) clothes - comes from ''Xunzi: The Outline'': &amp;quot;Zi Xia is poor, and his clothes are like hanging(县) quails.&amp;quot; (&amp;quot;县&amp;quot;xian equals &amp;quot;悬&amp;quot;xuan.)--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 01:57, 29 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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比喻破烂的衣服。因鹌鹑羽稀秃尾，十分难看，故以为喻。笏满床──典出《旧唐书·崔神庆传》：“开元中，神庆子琳等皆至大官，群从数十人，趋奏省闼。每岁时家宴，以一榻置笏，重叠于其上。”&lt;br /&gt;
A metaphor for tattered clothes. It is used as a metaphor for a quail's sparse feathers and bald tail, which is very unsightly. The bed was full of wats（笏满床）- from &amp;quot;The Old Book of Tang - Cui Shenqing&amp;quot;: &amp;quot;In the middle of Kaiyuan, Shenqing's sons, Lin and others, were all great officials, with dozens of people from the group, and tended to play the provincial office. Whenever there was a family banquet, a couch was placed with wats overlapping on it.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 01:52, 29 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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形容满门为官。 笏：亦名“手板”。是旧时朝臣上朝时手持的一种狭长板子，以象牙或木、竹制成，上面可以记事备忘。&lt;br /&gt;
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Describe all people in a house as officials. Wat board: also known as &amp;quot;hand board&amp;quot;. It is a long and narrow board held by the old courtiers when they went to the court. It is made of ivory, wood and bamboo. You can keep notes on it.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 01:50, 29 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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陇头──坟头。 陇：通“垄”。坟墓。《礼记·曲礼上》：“适墓不登垄。”郑玄注：“垄，冢也。”&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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强梁──典出《墨子·鲁问》：“譬有人于此，其子强梁不材，故其父笞之，其邻家之父举木而击之。”原指为人强横凶暴，胡作非为。引申为强盗。&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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择膏粱──意谓挑选富贵人家的子弟做女婿。 膏粱：“膏粱子弟”的略称。意谓吃肉类和细粮(泛指精美食物)人家的子弟。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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泛指富贵人家的子弟。“因嫌”二句──嫌纱帽小：意谓嫌官小。纱帽：旧时纱制的官帽。&lt;br /&gt;
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Refers to the children of wealthy families in general. &amp;quot;Therefore, discontent&amp;quot; the two words mean that the yarn hat is too small, and it is a metaphor that the official is too small. Yarn Hat: An official hat made of yarn in the old days.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 02:05, 29 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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锁枷扛：泛指犯罪坐牢。 锁枷：两种刑具。 这两句是说因嫌官小而贪赃枉法，以致犯罪入狱，披枷戴锁。&lt;br /&gt;
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Shackle uplift: refers to jail for crimes in general. Shackles: Two types of instruments of torture. These two sentences mean that because of the petty officials, they were corrupt and broke the law, leading to crimes and imprisonment.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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“昨怜”二句──紫蟒：绣蟒紫袍。以其为旧时高官之礼服，故借喻高官。 这两句是说从贫穷到富贵只是转眼间的事。喻世事变幻无常。&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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反认他乡是故乡──意谓人生在世，不过是匆匆过客，而人们却当作了自己的故乡，以至忙忙碌碌，争名夺利。等到呜呼哀哉，还是赤条条一身而去。所以下文说“甚荒唐，到头来，都是为他人作嫁衣裳”。&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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面善──面熟。 善：熟悉，知道，了解。《礼记·学记》：“不陵节而施之谓孙(逊)，相观而善之谓摩。”孔颖达疏：“善，犹解也。”&lt;br /&gt;
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Good face - familiar face. Good: familiar, knowing, understanding. 《The book of rites · Student reporters 》: &amp;quot;Teaching without exceeding students' acceptance is called &amp;quot;step by step&amp;quot;. Seeing each other's (works) and feeling good, learning from each other is called &amp;quot;&amp;quot; Kong yingdashu said: &amp;quot;if you are good, you still understand.&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 15:33, 28 November 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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贾夫人仙逝扬州城，冷子兴演说荣国府&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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却说封肃听见公差传唤，忙出来陪笑启问。&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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那些人只嚷：“快请出甄爷来！”&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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封肃忙陪笑道：“小人姓封，并不姓甄。&lt;br /&gt;
Feng Su hurriedly laughed and said, &amp;quot;The villain's surname is Feng, not Zhen.&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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只有当日小婿姓甄，今已出家一二年了。&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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不知可是问他？”&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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那些公人道：“我们也不知什么真假，既是你的女婿，就带了你去面禀太爷便了。”&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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大家把封肃推拥而去。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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封家各各惊慌，不知何事。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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至二更时分，封肃方回来。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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众人忙问端的，他说道：“原来新任太爷姓贾名化，本湖州人氏，曾与女婿旧交。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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因在我家门首看见娇杏丫头买线，只说女婿移住此间，所以来传。&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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我将缘故回明，那太爷感伤叹息了一回。&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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又问外孙女儿，我说看灯丢了。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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太爷说：‘不妨，待我差人去，务必找寻回来。’&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211124_homework&amp;diff=128445</id>
		<title>20211124 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211124_homework&amp;diff=128445"/>
		<updated>2021-11-29T06:17:10Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* 彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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我很纳闷：《不自弃文》是篇名，《姬子》是书名，应该同等对待，要么都予注释，要么都不注释，为什么一注一不注呢？难道前者生僻而需要注释，后者人所共知而不必注释吗？显然不是，只能说是避难就易，这与注释的宗旨完全背道而驰。&lt;br /&gt;
I wonder that since No Self-surrender is the title of the passage and Jizi is the title of the book, which should be treated equally, why did the situation happened that one annotated while one did not? Did the former need to be annotated while the latter is known to all without having to be annotated? Obviously, it is for choosing the easier way, which is completely contrary to the purpose of the annotation.&lt;br /&gt;
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I wonder: &amp;quot;don't abandon yourself&amp;quot; is the title, and &amp;quot;Ji Zi&amp;quot; is the title of the book. It should be treated equally, either annotated or not annotated. Why not annotate one note at a time? Is it true that the former is remote and needs annotation, while the latter is well known and does not need annotation? Obviously not, it can only be said that it is easy to avoid difficulties, which is completely contrary to the purpose of the notes. &lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:01, 24 November 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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那怕注为“《姬子》不详”，也还不失为态度诚实。老实说，起初我对《姬子》也一头雾水，因为见所未见，闻所未闻。但根据我自定的注释原则，我不能回避。&lt;br /&gt;
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Even if it is noted as &amp;quot;Ji Zi&amp;quot; unknown &amp;quot;, it can be regarded as an honest attitude. To be honest, at first I was confused about Ji Zi, because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 11:20, 21 November 2021 (UTC)&lt;br /&gt;
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Even if it is noted as &amp;quot;unknown Ji Zi&amp;quot; , it can still be regarded as an honest attitude. To be honest, at first I was confused about ''Ji Zi'', because I had never seen or heard of it. But according to my own annotation principle, I can't avoid it.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:36, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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于是我首先求助于《中国古典数字工程》，肯定了中国根本不存在《姬子》这么一本书，完全是曹雪芹所杜撰，正如《古今人物通考》、《中国历代文选》都是曹雪芹杜撰一样。其次，我记得俞平伯先生有一篇专门解释《姬子》的文章，但文章的题目、发表时间以及文章内容却不记得了。经过两天的翻箱倒柜，我终于找到了这篇文章，它的题目是《读〈红楼梦〉随笔》第九节《姬子》，初载于《文汇报》1954年1月25日；又收入《红楼梦研究参考资料选辑》第二辑，人民文学出版社1973年11月出版。&lt;br /&gt;
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Therefore, I first made reference htiw &amp;quot;Chinese Classical Digital Engineering&amp;quot; and confirmed that there was no such a book called &amp;quot;Ji Zi&amp;quot; in China, which was completely written by Cao Xueqin, just as cao Xueqin wrote &amp;quot;General Examination of Ancient and Modern Characters&amp;quot; and &amp;quot;Selected Chinese Writings in Past Dynasties&amp;quot;. Secondly, I remember that Mr. Yu Pingbo had a special article explaining ''JiZi'', but I do not remember the title, publication time and content of the article. After two days of searching, I finally found this article. Its title is ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion''. It was first published in Wenhui Daily on January 25, 1954. It was also included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 14:46, 22 November 2021 (UTC)Chen Huini&lt;br /&gt;
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So, I firstly searched ''Chinese Classical Digital Engineering'' and confirmed there was no such a book called &amp;quot;Ji Zi&amp;quot; in China. This book was completely made up by Cao Xueqin like the same thing he did to ''General Examination of Ancient and Modern Characters'' and ''Selected Chinese Writings in Past Dynasties''.Then, I recalled that Mr. Yu Pingbo especially wrote an article to explain ''Ji Zi'', but I didn't remember the title, publication time and content.After two days of searching, I finally found it. The title of it was  ''Ji Zi'', section 9 of Essays on Reading ''A Dream of Red Mansion'' which was first published in Wenhui Daily on January 25, 1954. and then was included in the second series of ''Selected Research Reference Materials on A Dream of Red Mansion'', published by People's Literature Publishing House in November 1973.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:20, 24 November 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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据俞先生在文章中说：姬子书到底是部什么书呢，谁也说不上来。特别前些日子把这一回书选为高中国文的教材，教员讲解时碰到问题，每来信相询，我亦不能对。但经过研究，他还是写了这篇文章，作为回答。&lt;br /&gt;
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According to Mr.Yu in his article: nobody can tell what book ''Ji Zi'' really is. Moreover, this chapter of ''A Dream in Red Mansions'' with the name ''Ji Zhi'' has been selected as the reading material of the high school,and I can't say anything when the teacher who failed to explain it in the classroom come to me.But after careful research, he still write an article to reply this question.&lt;br /&gt;
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According to Mr. Yu in his article: nobody can tell what book ''Ji Zi'' really is.  In particular, this chapter was selected as a reading material for the Chinese language in high school some days ago, the teachers encountered problems when explaining it, and they wrote to me every time to ask about it, but I couldn't get it right. But after researching, he wrote this article as an answer.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:37, 23 November 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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他的结论有三点：其一，《姬子》是“作者杜撰”，并以第三回的《古今人物通考》也是杜撰而作为佐证。其二，“这原来是一个笑话”，是探春“拿姬子来抵制”宝钗用以压人的朱子和孔子，而“比朱子孔子再大，只好是姬子了。殆以周公姓姬，作为顽笑”。&lt;br /&gt;
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There are three points in his conclusion: one, ''Ji Zi'' is &amp;quot;the author fabricated&amp;quot;, and to the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot; is also fabricated and as proof. Second, &amp;quot;this turns out to be a joke&amp;quot;, is Tanchun &amp;quot; take ''Ji Zi'' to resist&amp;quot; Baochai and used to press people by citing Zhu Zi and Confucius, and &amp;quot;higher level than Zhu Zi and Confucius can only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:35, 23 November 2021 (UTC)&lt;br /&gt;
There are three points in his conclusion: first, ''Ji Zi'' is &amp;quot;fabricated by the author&amp;quot;, and can be proved by the fabrication of the third round of &amp;quot; the general examination of ancient and modern characters&amp;quot;. Second, &amp;quot;this turns out to be a joke&amp;quot;, which Tanchun &amp;quot; held ''Ji Zi'' to resist” Baochai who used to press her by citing Zhu Zi and Confucius, but “requiring higher level than Zhu Zi and Confucius, there’s only be ''Ji Zi''. Probably Zhou Gong was surnamed Ji as a joke.”--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 12:25, 23 November 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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其三，“有人或者要问为什么净瞎捣乱，造书名？我回答：这是小说。”《中国古典数字工程》可以证明俞先生的“杜撰说”是正确的，因此我把俞先生的意见用以注释《姬子》。&lt;br /&gt;
Thirdly, &amp;quot;Someone may ask why messing around and making a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s “theory of fabrication” is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Jizi''.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:56, 23 November 2021 (UTC)&lt;br /&gt;
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Thirdly, &amp;quot;Someone may ask why to mess around and make a title? I replied: This is a novel. &amp;quot;It can be proved by ''The Chinese Classical Digital Engineering'' that Mr. Yu’s  ''Theory of Fabrication'' is correct. Therefore, I applied Mr. Gong's opinion to annotate ''Ji Tzu''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 11:01, 26 November 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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据我所知，现在有人搜集了周公的几篇佚文，将其编为集子，按照《老子》、《庄子》、《孟子》之类的惯例，即命名为《姬子》，但这与曹雪芹毫不相干，《红楼梦》中的《姬子》书名绝对是杜撰。此外，有的注本虽然对《不自弃文》作了注释，却只是简述该文的大意，而没有注出曹雪芹的深刻用意。原来朱熹的徒子徒孙认为此文格调低下，有失朱夫子的身份，故将此文排除在众多朱熹文集之外，只有明·朱培编《文公大全集补遗》卷八从抄本《朱熹家谱》中引录，另有《朱子文集大全类编·卷二一·庭训》亦予收录。&lt;br /&gt;
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As far as I know, someone collected several lost articles of Duke of Zhou, edited them into an anthology and named it ''Ji Tzu'' according to the routine of  ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretation to ''No Self-surrender'', they just told the main idea of this article rather than annotating the deep meaning made by Cao Xueqin. In fact, disciples and followers of Zhu Xi thought the style of this passage beneath his dignity is very low, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the eighth roll of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of ''Zhu Xi’s Genealogy''. In addition, it is also included in ''Complete Works of Zhu Tzua•Roll Twenty-one•Home Hearing''.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 03:47, 21 November 2021 (UTC)&lt;br /&gt;
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As far as I know, now someone collected several lost articles of Duke of Zhou and edited them into a collection that was named  ''Ji Tzu'' according to the routine of ''Lao Tzu'', ''Chang Tzu'' and ''Mencius'' and so on. However, this thing is irrelevant to Cao Xueqin, so the title of ''Ji Tzu'' in ''A Dream in Red Mansions'' is absolutely fabricated. Besides, although some books with annotations made interpretations to ''No Self-surrender'', they just briefly described the main idea of this article rather than annotating the deep meaning of Cao Xueqin. In fact, disciples and followers of Zhu Xi thought this passage  was low in style and demeaned Zhu Xi, so they excluded it out of many anthologies of Zhu Xi. Only when Zhu Pei(Ming dynasty) edited the Book Eight of ''Supplement to Collected Works of Duke Wen'', he incited it from transcript of Zhu Xi’s Genealogy. In addition, ''Complete Works of Zhu Tzua• Book Twenty-one•Home Hearing'' was also included.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 03:07, 22 November 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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曹雪芹借宝钗之口说出这篇少见的文章，一则以显示宝钗无书不读，再者也暗示自己博览群籍，同时也对那些自封的朱熹卫士予以调侃。可见曹雪芹即使开玩笑，也非闲笔，总有一定的用意。（详见注释）鉴于所要注释的词语性质不同，因此对注文的要求也有所不同。&lt;br /&gt;
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Saying this rare writing through Precious Hairpin Marshgrass,  on the one hand Cao Xueqin showed her strong love of reading  as well as implied own extensive reading, and on the other, he played off those self-appointed guards of Zhu Xi. Obviously, his joking is not  casual but absolutely with some profound meaning.(see annotations) The nature of words annotated is different, so the requirements for explanatory notes are different as well.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 02:41, 22 November 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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其一，对于一般的疑难词语，重在疏通文意，多不引经据典，追根溯源。其二，对于成语、典故，则既要注明其出典，又要解释其本义，还要说明其引申义或比喻义。其三，对于各种名物（如建筑、服饰、官署、官职、琴棋书画、医卜星相等），则力求变专门术语为通俗语言，以利读者理解。&lt;br /&gt;
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Firstly, as for normally confusing words, the emphasis is on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for all kinds of physical objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Firstly, as for common confusing words, it should emphasize on clearing up the meaning of the text, as much quoting scripture and tracing the roots as possible. Secondly, for idioms and allusions, it is necessary to indicate their origins, explain their original meanings, and also include their derivative meanings or metaphorical meanings. Thirdly, for various technical terms of objects (such as architecture, costumes, official offices, official positions, Four Arts( qin, chess, calligraphy and painting), medicine, divination and astrology, etc.), the attempt is to turn specialized terms into common language in order to facilitate readers’ understanding.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:17, 28 November 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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其四，对于历史名人，则注明其所在朝代、简历及突出事迹。对于传说人物，则注明其出处及相关故事。其五，对于珍禽异兽、奇花异卉等，则注明其出处来历、奇异之处及相关故事。&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and animals, unusual flowers and different plants, etc., their origins and histories, peculiar places and related stories should be indicated.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 14:36, 23 November 2021 (UTC)&lt;br /&gt;
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Fourthly, as for historical celebrities, their dynasties, resumes and outstanding deeds should be indicated. As for legendary figures, their sources and related stories should be indicated. Fifthly, as for rare birds and fabulous beasts, unusual flowers and different plants, etc., their origins and histories, peculiarities and related stories should be indicated.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:50, 23 November 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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其六，对于风俗、礼仪、节气等，则注明其形成沿革、具体内容。其七，对于谜语，则既要揭出谜底，又要解释谜语中的疑难词语、成语典故，还要说明谜底的根据。对于酒令，则要参照令谱，详述酒令的玩法及过程。&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and an explanation is expected to be given to the answer as well as to difficult words, idioms and allusions in the riddle. Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:51, 23 November 2021 (UTC)&lt;br /&gt;
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Sixthly, in terms of customs, etiquette and solar terms, its formation, development and content should be indicated. Seventhly, in terms of riddles, answers should be uncovered and it is necessary to explain the difficult words and idioms in the riddle, and to explain the basis of the answer.Finally, in terms of drinking games, elaboration should be given on the rules and the process according to the instruction manual.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:45, 27 November 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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其八，对于所引前人诗、词、曲、文等，皆要注明出处；诗、词、曲照录全文，文则节录相关的文字。其九，对于具有隐寓或暗示意味的诗、词、曲、文、成语、典故、谜语、酒令等，因其关系到故事情节的发展和人物性格、运命的描写，故除了作注释之外，还要揭示其隐藏的含义。总而言之，注文以释难为易、释疑为明为宗旨，以释义准确、释文简炼为目标。&lt;br /&gt;
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Eighthly, reference to predecessors' poems, Ci, Qu, essay, etc., must indicate the source; Poems, Ci, Qu are transcribed without changing the original words, and the essay takes the relevant words. Ninthly, for poems, Ci, Qu, essay, idioms, allusions, riddles, drinkers’ wager game and so on with implicit or suggestive meaning, because they are related to the development of the story plot and the description of the character and fate, so in addition to making annotations, but also to reveal his hidden meaning. In a word, the annotations aim to explain the difficulty as easy, to explain the doubt as clear. Aim to explain the meaning accurately and explain the text concisely.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:32, 27 November 2021 (UTC)&lt;br /&gt;
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Eight, all quotations from poems, lyrics, songs and essays should be attributed to the source; the poems, lyrics and songs should be reproduced in their entirety, while the essays should be excerpted from the relevant texts. Nine, for poems, lyrics, songs, texts, idioms, allusions, riddles, wine orders, etc., which have an implicit or suggestive meaning, as they relate to the development of the storyline and the description of the characters' personalities and fortunes. The commentary should reveal their hidden meanings in addition to annotations. All in all, the aim of the commentary is to explain the difficult for the easy and the doubtful for the clear, and to explain the meaning accurately and to explain the text concisely.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:32, 28 November 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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愿望虽然如此，但学力有限，经验欠缺，愿望能否实现，毫无把握。诚望方家指教，读者检验。&lt;br /&gt;
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第一回 甄士隐梦幻识通灵 贾雨村风尘怀闺秀&lt;br /&gt;
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Although I wish to do so, I am not sure whether my wish can be realized because of my limited learning and lack of experience.I hope that the readers will test it.&lt;br /&gt;
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Chapter 1 Hidden Turth--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 12:33, 28 November 2021 (UTC)&lt;br /&gt;
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Although I wish to do so, I am not sure whether the wish can come true with my limited ability and experience. Sincerely hope that other authors teach something and readers check it.&lt;br /&gt;
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Chapter 1 Zhen Shiyin, in a vision, apprehends spirituality. Jia Yucun, in the windy and dusty world, cherishes fond thoughts of a beautiful maiden. --[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 07:21, 24 November 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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此开卷第一回也。作者自云：曾历过一番梦幻之后，故将真事隐去，而借“通灵”之说，撰此《石头记》一书也，故曰“甄士隐”云云。但书中所记何事何人&lt;br /&gt;
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This is the first chapter of the book. The author said that after going through the illusion, he prefered covering some truth and in virtue of mysticism wrote the novel ''The Story of the Stone''，so instead he used the name of  Zhen Shiyin as a major speaker. But things and people noted in it--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 03:59, 23 November 2021 (UTC)&lt;br /&gt;
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This is the first chapter of the book.Subsequent to the visions of a dream which he had，on some previous occasion，experienced，the writer personally relates，he designedly concealed the true circumstances，and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose，he made use of such designations as Chen Shih-yin and the like. What are，however，the events recorded in this work？--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 10:19, 24 November 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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自己又云：“今风尘碌碌，一事无成。忽念及当日所有之女子，一一细考较去，觉其行止见识，皆出我之上；我堂堂须眉，诚不若彼裙钗：我实愧则有馀，悔又无益，大无可如何之日也。当此日，欲将已往所赖天恩祖德，锦衣纨袴之时，饫甘餍肥之日，背父兄教育之恩，负师友规训之德，以致今日一技无成、半生潦倒之罪，编述一集，以告天下：知我之负罪固多，然闺阁中历历有人，万不可因我之不肖，自护己短，一并使其泯灭也。&lt;br /&gt;
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The author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 12:42, 22 November 2021 (UTC)&lt;br /&gt;
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The author goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Thinking of them one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy.On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There had been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to hide my own shortcomings.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:34, 22 November 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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所以蓬牖茅椽，绳床瓦灶，并不足妨我襟怀；况那晨风夕月，阶柳庭花，更觉得润人笔墨。我虽不学无文，又何妨用假语村言敷演出来，亦可使闺阁昭传，复可破一时之闷，醒同人之目，不亦宜乎？”故曰“贾雨村”云云。&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Rainvillage Merchant.&amp;quot;--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 13:27, 21 November 2021 (UTC)&lt;br /&gt;
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&amp;quot;Though my home is now a thatched cottage in which there are shabby windows, bed made of rope and earthen stove, all of these can not change my being broad and level. Besides, the morning breeze,  the dew of night, the willows by me steps and the flowers in the yard inspired me to wield my pen. Though I have little learning and literary talent, it doesn't matter if I tell a tale in rustic language to record those lovely girls. This should help readers distract them from their worries. And that's the reason why I use the name Jia Yucun.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 14:19, 23 November 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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更于篇中间用“梦”、“幻”等字，却是此书本旨，兼寓提醒阅者之意。看官：你道此书从何而起？说来虽近荒唐，细玩颇有趣味。&lt;br /&gt;
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In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:21, 23 November 2021 (UTC)&lt;br /&gt;
In the middle of the article, the words &amp;quot;dream&amp;quot; and &amp;quot;fantasy&amp;quot; are the purpose of the book and the meaning of reminding readers. Reader: where did you start this book? Although it's absurd, it's fun to play.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:33, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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却说那女娲氏炼石补天之时，于大荒山无稽崖，炼成高十二丈、见方二十四丈大的顽石三万六千五百零一块，那娲皇只用了三万六千五百块，单单剩下一块未用，弃在青埂峰下。谁知此石自经锻炼之后，灵性已通，自去自来，可大可小。因见众石俱得补天，独自己无才，不得入选，遂自怨自愧，日夜悲哀。一日，正当嗟悼之际，俄见一僧一道远远而来，生得骨格不凡，丰神迥异，来到这青埂峰下，席地坐谈。It is said that, once upon a time, when Nuwa was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, its spirit has been passed. It can be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:34, 24 November 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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It is said that, once upon a time, when Nuwa(Goddesses of Sky-patching) was refining stones to mend the sky, she refined them into 36,501 pieces of hard stones 12-feet high and 24-feet square on the Wuji Cliff of the Da Huangshan Mountain. Numa, the creator of human beings in Chinese myth, only used 36,500 pieces, leaving only one unused and abandoned it under the Qinggeng Peak.Who knows, after the stone has been refined and created, it had its spirit, it moved freely and could be big or small.Seeing that all the stones were able to mend the sky, he had no talent and could not be selected, so he complained and felt ashamed and mourned day and night. One day, at the time of mourning, he suddenly saw a monk and a Taoism priest with extraordinary personality  coming from afar. They came to the Qinggeng Peak and sat on the ground to talk.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 05:57, 26 November 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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见着这块鲜莹明洁的石头，且又缩成扇坠一般，甚属可爱。那僧托于掌上，笑道：“形体倒也是个灵物了，只是没有实在的好处。须得再镌上几个字，使人人见了，便知你是件奇物。&lt;br /&gt;
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It was lovely to see this bright and clean stone shrinking like a fan. Resting on his palm, the monk smiled and said, &amp;quot;The body is a spiritual being, but it has no real benefit. Words had to be engraved so that everyone could see you and know that you were a wonder.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 15:01, 20 November 2021 (UTC)&lt;br /&gt;
Looking at this bright and clean stone shrinking like a fan, which is so lovely, with the stone on his palm the monk smiled and said, &amp;quot;Your body is a spiritual being, but ihas no real benefits. Words should be engraved so that everyone could see you and know that you are a wonder.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:42, 24 November 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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然后携你到那昌明隆盛之邦、诗礼簪缨之族、花柳繁华地、温柔富贵乡那里去走一遭。”石头听了大喜，因问：“不知可镌何字？携到何方？望乞明示。”那僧笑道：“你且莫问，日后自然明白。”&lt;br /&gt;
Then take you there, a city-state of prosperity, a family of scholar, a place of flowers and willows. After listening, Stone asked rejoicingly: “I do not know  what word I can write? Where I will be taken to? I hope get your instruction.” The monk smiled, “You do not rush into answer, and you will know it some day.”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 11:24, 24 November 2021 (UTC)&lt;br /&gt;
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Then I'll take you for a walk to the prosperous country, the family of poems, gifts and tassels, the prosperous place of flowers and willows, and the gentle and rich township. &amp;quot; The stone was overjoyed when he asked, &amp;quot;I don't know what word to engrave? Where to carry it? I hope to beg clearly.&amp;quot; the monk smiled and said, “You do not rush into answer, and you will know it some day.”--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 14:54, 28 November 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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说毕，便袖了，同那道人飘然而去，竟不知投向何方。又不知过了几世几劫，因有个空空道人访道求仙，从这大荒山无稽崖青埂峰下经过，忽见一块大石，上面字迹分明，编述历历。空空道人乃从头一看，原来是无才补天，幻形入世，被那茫茫大士、渺渺真人携入红尘、引登彼岸的一块顽石：上面叙着堕落之乡、投胎之处，以及家庭琐事、闺阁闲情、诗词谜语，倒还全备。&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded on his journey, in company with the Taoist priest. No one knows where he took the stone. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, named K'ung K'ung, passed, during his researches after the eternal reason and his quest after immortality, by these Ta Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly seeing a large stone, on the surface of which the handwriting on it is clear and the calendar is compiled, K'ung K'ung examined them from first to last. They, in fact, explained how that this stone had originally been devoid of the properties essential for the repairs to the heavens, how it would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other bank (across the San Sara). On the surface, it describes the land of degeneration, the place of reincarnation, as well as family trivia, boudoir leisure, poetry, riddles, which could not be ascertained.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 04:54, 24 November 2021 (UTC)&lt;br /&gt;
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Having concluded these words, he put the stone in his sleeve, and proceeded leisurely on his journey, in company with the Taoist priest. However, no one knew where he went. Nor can it be known how many centuries and ages elapsed, before a Taoist priest, K'ung K'ung by name, passed, during his researches after the eternal reason and his quest after immortality, by these Da Huang Hills, Wu Ch'i cave and Ch'ing Keng Peak. Suddenly perceiving a large block of stone, on the surface of which the traces of characters giving in a connected form, the various incidents of its fate could be clearly predicted. K'ung K'ung examined them from beginning to end. In fact, they explained how this block of worthless stone which had originally been devoid of the properties essential for the mending to the heavens, would be transmuted into human form and introduced by Mang Mang the High Lord, and Miao Miao, the Divine, into the world of mortals, and how it would be led over the other world (across the San Sara). On the surface, it recorded the spot of its degeneration and the place of its birth. The complete recording also included various family trifles, trivial affairs of young ladies, verses and riddles.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 06:17, 28 November 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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只是朝代年纪，失落无考。后面又有一偈云：无才可去补苍天，枉入红尘若许年。此系身前身后事，倩谁记去作奇传？&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure skies, &lt;br /&gt;
in vain I have been into the mortal world for many years. &lt;br /&gt;
These facts are of a former and after life,&lt;br /&gt;
but who will record a strange legend for me?--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 03:57, 24 November 2021 (UTC)&lt;br /&gt;
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But the name of the dynasty and the year of the reign were obliterated and could not be confirmed. There was also a Buddhist verse following behind:&lt;br /&gt;
Lacking in virtues to mend the azure sky, nothing have I gained within the years spent in the secular world. All of these about my present life and afterlife, who would record them for me?--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:59, 26 November 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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空空道人看了一回，晓得这石头有些来历，遂向石头说道：“石兄，你这一段故事，据你自己说来，有些趣味，故镌写在此，意欲闻世传奇。据我看来：第一件，无朝代年纪可考；第二件，并无大贤大忠理朝廷、治风俗的善政，其中只不过几个异样女子，或情或痴，或小才微善。我纵然抄去，也算不得一种奇书。”&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he had some idea about the story on it, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 09:02, 21 November 2021 (UTC)&lt;br /&gt;
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As the Taoist priest named Kongkong once has examined the stone, he knew that the stone had some history, and then said to the stone, &amp;quot;Brother, maybe in your opinion, the story inscribed on you is of some interest so as to be kept here to win a fame throughout the world. But to my mind, it is far from a legend book to be transcribed. Firstly, there are hardly any clues about the time period of the background; secondly, no outstanding governance regarding politics and costumes has been achieved by great talents or loyal officials, and what it mainly narrates are merely several unusual women, some stuck in love, some boasting subtle  intelligence and benevolence.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 03:05, 27 November 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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石头果然答道：“我师何必太痴？我想历来野史的朝代，无非假借汉、唐的名色；莫如我这石头所记，不借此套，只按自己的事体情理，反倒新鲜别致。况且那野史中，或讪谤君相，或贬人妻女，奸淫凶恶，不可胜数；更有一种风月笔墨，其淫秽污臭，最易坏人子弟。&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties of unofficial history are nothing more than under the guise of Han, Tang. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Moreover, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are the most likely to have a bad influence on the younger generation.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 10:54, 24 November 2021 (UTC)&lt;br /&gt;
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The stone answered: “Why are you so stubborn? I think the dynasties recorded in the unofficial histories are nothing more than under the guise of Han and Tang Dynasty. They are not as good as the stories recorded by me, a stone, which don’t follow the convention but according to the real facts and therefore are more novel on the contrary. Besides, those unofficial histories are either slandering the emperor and his subjects, or belittling other people’s wives and children. There are countless descriptions of ferocity and adultery which are most likely to have a bad influence on the younger generation.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 11:10, 24 November 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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至于才子佳人等书，则又开口文君，满篇子建，千部一腔，千人一面，且终不能不涉淫滥。在作者不过要写出自己的两首情诗艳赋来，故假捏出男女二人名姓；又必旁添一小人拨乱其间，如戏中小丑一般。更可厌者，之乎者也，非理即文，大不近情，自相矛盾。&lt;br /&gt;
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As for the books about the talented and the beauties, they talked about Wen and Jun, the pages were also full of Zi and Jian. A thousand volumes present the same thing, and a thousand person are also in the same character. Moreover, they cannot avoid to some licentious things. The authors, who had to write several sentimental odes and elegant ballads, had falsely invented the names of both men and women, and also some bad guys who like a clown in a play made some troubles in there. As for the annoying men, they had nothing in their minds and talked about Li and Wen, which had no link with the targeted things and paradoxical in the whole.--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:53, 22 November 2021 (UTC)&lt;br /&gt;
As for books related to talented scholars and beautiful ladies, he also talked about Wenjun, who is good at articles and is capricious, but he could not avoid prostitution in the end. The author just wants to write two of his own love poems, so he falsely pinches out the names of men and women; he must add a little person to make trouble in the meantime, like a clown in a play. The more annoying, the more it is, the unreasonable is the literary, the most unkind, self-contradictory.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:24, 24 November 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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竟不如我这半世亲见亲闻的几个女子，虽不敢说强似前代书中所有之人，但观其事迹原委，亦可消愁破闷；至于几首歪诗，也可以喷饭供酒。其间离合悲欢，兴衰际遇，俱是按迹循踪，不敢稍加穿凿，至失其真。只愿世人当那醉馀睡醒之时，或避事消愁之际，把此一玩，不但是洗旧翻新，却也省了些寿命筋力，不更去谋虚逐妄了。&lt;br /&gt;
It’s not as good as the few women I’ve seen and heard about in this half of my life. Although I dare not say that she is  better than all the people in the books of the previous generations. Looking at their deeds, you can also relieve your sorrow and boredom. As for a few poor poems, you can also taste them while eating and drinking.The joys and sorrows, the ups and downs all follow the traces, daring not to  lose the truth. I only hope that when the world is awake, or when avoiding troubles and sorrows ,they can enjoy it, not only to renovate, but also to save some lifespan and energy, not to seek falsehood.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 03:15, 24 November 2021 (UTC)&lt;br /&gt;
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I am not as good as the women I have seen and heard in my life. Though I cannot say that they are as good as all the people in the books of previous generations, I can relieve my sorrow and despair by watching their deeds. As for a few crooked poems, you can also spray rice for wine. During the separation of joys and sorrows, ups and downs, are all traced, dare not slightly cut, to lose its true. I only hope that when people wake up from their drunkenness, or when they are relieved of their sorrow, they will not only wash the old and renew it, but also save some strength of life, so as not to seek for false things.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:39, 24 November 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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我师意为如何？”空空道人听如此说，思忖半晌，将这《石头记》再检阅一遍。因见上面大旨不过谈情，亦只是实录其事，绝无伤时诲淫之病，方从头至尾抄写回来，闻世传奇。&lt;br /&gt;
What do I mean?&amp;quot; Empty Taoist listen to say so, ponder a long time, will this &amp;quot;stone&amp;quot; review again. Seeing that the message above was only a talk of love, and only a record of it, without suffering from the disease of lewdness, I copied it back from beginning to end and heard the legend of the world.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 04:38, 24 November 2021 (UTC)&lt;br /&gt;
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What do I mean? &amp;quot; After hearing this, Taoist Kongkong thought for a long time and reviewed the stone story again. Seeing that the above general purpose is nothing but romance, it is only a factual record of its affairs, and there is no disease of obscenity at the time of injury, so I copied it back from beginning to end and heard the legend of the world.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:35, 24 November 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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从此空空道人因空见色，由色生情，传情入色，自色悟空，遂改名情僧，改《石头记》为《情僧录》。东鲁孔梅溪题曰《风月宝鉴》。后因曹雪芹于悼红轩中披阅十载，增删五次，纂成目录，分出章回，又题曰《金陵十二钗》，并题一绝。&lt;br /&gt;
Since then empty Taoist empty because of empty see color, from color feeling, feeling into color, since color wukong, then changed the name of the monk, &amp;quot;stone&amp;quot; for &amp;quot;love monk record&amp;quot;. Kong Meixi of The Eastern Lu dynasty wrote the book Fengyue Bao Jian. After cao Xueqin in mourning red xuan read ten years, add and delete five times, compiled into a directory, a chapter back, and the title yue ''Jinling twelve Hairpin'', and a must.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 04:31, 24 November 2021 (UTC)&lt;br /&gt;
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Since then Empty Taoist saw form through emptiness, generated emotions due to form, into which emptiness was stilled and epiphany was revealed, he then changed his epithet  into Monk in Love, and changed ''The story of the Stone''  into ''Record of Monk in Love'', which was called ''Catalogue of Chinese Ancient Romance'' by Kong Meixi of The Eastern Lu dynasty. Afterwards Cao Xueqin read and amended it for ten years, revised and polished it for five times, and then compiled it into a directory with chapters and sections. Finally he entitled it ''The Twelve Flowers in Jinlin'' attached with a Chinese quatrain.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 04:55, 24 November 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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即此便是《石头记》的缘起。诗云：满纸荒唐言，一把辛酸泪。都云作者痴，谁解其中味?&lt;br /&gt;
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This was the origin of ''The Story of The Stone''. A poem once said, “the whole novel is full of absurd words, as well as bitter tears. People all consider the author crazy, but is there anyone who knows its true meaning？--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:22, 23 November 2021 (UTC)&lt;br /&gt;
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This is the origin of ''The Story of the Stone''. The poem says: The pages were full of idle words which was penned with hot and bitter tears; All men call the author fool, but no one understood his secret message.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:25, 23 November 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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《石头记》缘起既明，正不知那石头上面记着何人何事？看官请听。按那石上书云：当日地陷东南，这东南有个姑苏城，城中阊门最是红尘中一二等富贵风流之地。&lt;br /&gt;
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Now that the origin of the stone is clear, let us see what was written on the stone. Dear readers, please listen. Long ago, the earth dipped downwards in the southeast where there was a city named Gusu; and the quarter around Changmen Gate of Gusu was one of the most fashionable centres of wealth and nobility in the world of men. --[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 02:10, 23 November 2021 (UTC)&lt;br /&gt;
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The origin of &amp;quot;The Story of the Stone&amp;quot; was clear, but did you know who or what was written on the stone? Please listen to me and go on. According to the record on the stone: One day, there was a subsidence in southeast and there was Gusu City. In the city, the quarter around Changmen Gate was one of the most fashionable centres of wealth and nobility in the world of men.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 03:13, 23 November 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这阊门外有个十里街，街内有个仁清巷，巷内有个古庙，因地方狭窄，人皆呼作“葫芦庙”。庙旁住着一家乡宦，姓甄名费，字士隐；嫡妻封氏，性情贤淑，深明礼义。家中虽不甚富贵，然本地也推他为望族了。&lt;br /&gt;
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Outside the city of Changmen gate, there was a Shili street and a Renqing lane was on the street. In the Renqing lane, there was an ancient temple called &amp;quot;Hulu temple&amp;quot; owing to it`s narrow location. Next to the temple lived a hometown official named Zhen Fei, courtesy named Shi Yin; his legal wife, surnamed Feng, was a virtuous person with a deep sense of courtesy and righteousness. Although the family was not very rich, the local people also thought that he was a prominent family.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 14:02, 21 November 2021 (UTC)Liu Wei&lt;br /&gt;
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Outside the Changmen gate was the Shili street and the Renqing lane, inside which was an ancient temple, called the &amp;quot;Gourd temple&amp;quot; for its narrow space. Next to the temple lived a retired official named Zhen Fei, whose courtesy name was Shi Yin; his legal wife Mrs. Feng was a virtuous person with a deep awareness of courtesy and righteousness. Although the family was not very rich, the locals also regarded him as a noble man.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 15:19, 22 November 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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因这甄士隐禀性恬淡，不以功名为念，每日只以观花种竹、酌酒吟诗为乐，倒是神仙一流人物。只是一件不足：年过半百，膝下无儿；只有一女，乳名英莲，年方三岁。一日炎夏永昼，士隐于书房闲坐，手倦抛书，伏几盹睡，不觉矇眬中走至一处，不辨是何地方。&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! There was only one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. Tired, he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 03:19, 21 November 2021 (UTC)&lt;br /&gt;
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Zhen Shiyin had a tranquil mind, indifferent to fame or gain. The only fun in every day life was enjoying beautiful flowers and planting bamboo, drinking nectared wine and reciting poetry. What a fairy-like figure! But there was one pity, that is, though in his fifty years old, he had no son nut only one three-year-old daughter, named Yinglian. One day in the hot summer, Shenyin was sitting idly in his study. He was so tired that he threw away his book and fell asleep at his desk, drifting to a place he could not tell.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:12, 23 November 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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忽见那厢来了一僧一道，且行且谈。只听道人问道：“你携了此物，意欲何往？”那僧笑道：“你放心。如今现有一段风流公案，正该了结，这一干风流冤家，尚未投胎人世。&lt;br /&gt;
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Unexpectedly he espied， in the opposite direction， two priests coming towards him： the one a Buddhist， the other a Taoist. As they advanced they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the object you have brought away？&amp;quot; he heard the Taoist inquire. To this question the Buddhist replied with a smile： &amp;quot;Set your mind at ease，&amp;quot; he said； &amp;quot;there's now in maturity a plot of a general character involving mundane pleasures， which will presently come to a denouement. The whole number of the votaries of voluptuousness have， as yet， not been quickened or entered the world.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:07, 23 November 2021 (UTC)&lt;br /&gt;
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Unexpectedly he espied, from the opposite direction, two priests coming up to him: one a Buddhist, the other a Taoist. As they advanced, they kept up the conversation in which they were engaged. &amp;quot;Whither do you purpose taking the thing you have brought away？&amp;quot; He heard the Taoist inquire. The Buddhist replied with a smile: &amp;quot;Set your mind at ease. There's now a case of romantic affairs, which should presently come to a denouement. The whole number of the votaries of voluptuousness involved in have not been reincarnated.--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:31, 24 November 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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趁此机会，就将此物夹带于中，使他去经历经历。”那道人道：“原来近日风流冤家又将造劫历世，但不知起于何处，落于何方？”那僧道：“此事说来好笑。&lt;br /&gt;
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Taking this opportunity, we can mingle it in them and let it experience the life on earth.&amp;quot; The Taoist priest said: &amp;quot;So those debtors of love affairs will be reincarnated and then suffer on earth. But from which place will the reincarnation start and in which direction will them be placed still remain unsettled.&amp;quot; The monk said: &amp;quot;It's a funny story. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 24 November 2021 (UTC)&lt;br /&gt;
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Taking this opportunity, we can carry it away and let it experience the life on earth. ”The Taoist priest said: &amp;quot;The debtors of love affairs will be reincarnated and then suffer on earth recently. But it' s unknown that from when the story started and to where will it go.“ The monk said: &amp;quot;It's a funny story....--  --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 08:23, 28 November 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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只因当年这个石头，娲皇未用，自己却也落得逍遥自在，各处去游玩。一日来到警幻仙子处，那仙子知他有些来历，因留他在赤霞宫中，名他为赤霞宫神瑛侍者。他却常在西方灵河岸上行走，看见那灵河岸上三生石畔有棵绛珠仙草，十分娇娜可爱，遂日以甘露灌溉，这绛珠草始得久延岁月。&lt;br /&gt;
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This stone have not been used by The Empress Nu Wo. Thus It used to be free to roam on the heavens until one day he came to the Fairy of Wonders, who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Palace. He often walked along the bank of the Spirit River in the West where he saw a delicate and lovely flower on the bank of the Three Living Stones. Being struck with the great beauty of this flower, the stone remained there, tending its protegee with the most loving care, and daily moistening its roots with the choicest nectar of the sky. Yielding to the influence of disinterested love, the flower lived a longer life. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 07:32, 28 November 2021 (UTC)&lt;br /&gt;
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Because this stone in that age hasn‘t been used by a goddess in Chinese mythology，he could be careless and can go to visit many places for fun.One day，he come to the Fairy of Wonders who knew his special background. So she kept him in her palace and gave him the name by the Divine Eunuch of the Palace.But he always walks by the bank of the Spirit River.One day，he saw a fairy grass beside the Three Living Stones on the bank of the river，which is cute and delicate，so he irrigated it day by day，making it living longer.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:31, 28 November 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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后来既受天地精华，复得甘露滋养，遂脱了草木之胎，幻化人形，仅仅修成女体，终日游于离恨天外，饥餐秘情果，渴饮灌愁水。只因尚未酬报灌溉之德，故甚至五内郁结着一段缠绵不尽之意。常说：‘自己受了他雨露之惠，我并无此水可还。&lt;br /&gt;
Afterwards，because of the essence of the nature and the nutrients of the dew，it gradually got rid of itself from the trees and become a human-being，but only can become a female，meandering outside all day long，when feeling hungry，she would eat fruits，and when feeling thirsty，she would drink water.The reason for her lingering emotions is that she haven‘t showed her gratitude to her benefactors.She always said that：“I was benefited from his dew，but I can‘t bring back a report.”--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 15:21, 28 November 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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他若下世为人，我也同去走一遭，但把我一生所有的眼泪还他，也还得过了。’因此一事，就勾出多少风流冤家都要下凡，造历幻缘，那绛珠仙草也在其中。今日这石正该下世，我来特地将他仍带到警幻仙子案前，给他挂了号，同这些情鬼下凡，一了此案。”&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would also go with him but only in this time return all the sorrows to him, which can let me go through the life. “For this reason, how many pretty teases have to descend to the world suffering the illusory fates, and the Crimson Pearl Flower is also among them. Today, this stone is about to be born, so I comes here specially to bring him to the court of Fairy Maiden Jinhuan, registering him and letting him go down to the earth with ghosts  in order to settle the case.”--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 12:37, 24 November 2021 (UTC)&lt;br /&gt;
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If he could be reincarnated as human in the next life, I would go with him, but I should also return all the sorrows in this time to him, which can enable me to go through the life. &amp;quot;For this reason, lots of pretty teases have to descend to the world suffering the illusory destiny, and that Crimson Pearl Flower is also amomg them. Today this jade is about to be born, so I come here specially to take him to the court of Fairy Maiden Jinhuan, endowing him with a registration and letting him go down to the earth with those sentimental ghosts so as to settle the case.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:16, 27 November 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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那道人道：“果是好笑，从来不闻有‘还泪’之说。趁此，你我何不也下世度脱几个，岂不是一场功德？”那僧道：“正合吾意。你且同我到警幻仙子宫中，将这蠢物交割清楚，待这一干风流孽鬼下世，你我再去。如今有一半落尘，然犹未全集。”&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I are going to the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 15:04, 27 November 2021 (UTC)&lt;br /&gt;
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The Taoist priest says:&amp;quot;It's really ridiculous. I have never heard of the saying of 'returning tears'. We can also take this opportunity to release several souls from purgatory (help several souls of the decease get rid of worldly sufferings). Isn't it a merit?&amp;quot; The monk replies:&amp;quot;It's exactly what I am hoping for. You and I will go the palace of the fairy maiden Jing Huan, and to deliver such a jade and figure it out. When these dissolute and sinful evils all pass away, we will go to the afterlife. Half of them have fallen into the earthly world, but they have not yet gathered completely.&amp;quot;--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 06:56, 23 November 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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道人道：“既如此，便随你去来。”却说甄士隐俱听得明白，遂不禁上前施礼，笑问道：“二位仙师请了。”那僧、道也忙答礼相问。&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Zhen Shiyin heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also replied with manners.&lt;br /&gt;
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The Taoist said, &amp;quot;In that case, let's go with you.&amp;quot; Then Zhen Shiyin heard and understood, so he could not help but go forward to salute, smiling and saying, &amp;quot; Please, distinguished masters.&amp;quot; The monk and the Taoist also immediately replied with manners.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 10:50, 24 November 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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士隐因说道：“适闻仙师所谈因果，实人世罕闻者。但弟子愚拙，不能洞悉明白。若蒙大开痴顽，备细一闻，弟子洗耳谛听，稍能警省，亦可免沉沦之苦了。”&lt;br /&gt;
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Shi Yinyin said: &amp;quot;What you master talked about the cause and effect is definitely rare in the world. But I am stupid and can't fully understand it. If you can explain it for me to get rid of infatuation and stubbornness, I will listen to you carefully and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:01, 21 November 2021 (UTC)&lt;br /&gt;
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Shi Yin then said, &amp;quot;I have just heard you master's words about karma, a truly rare insight in the world. But I am too ignorant to understand it. If I could be enlightened by you two to get rid of infatuation and stubbornness, I would certainly listen carefully to all that you say and then take warning from it, avoiding the suffering of enthrallment.&amp;quot;--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:54, 22 November 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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二仙笑道：“此乃玄机，不可预泄。到那时只不要忘了我二人，便可跳出火坑矣。”士隐听了，不便再问，因笑道：“玄机固不可泄露，但适云‘蠢物’，不知为何？或可得见否？”那僧说：“若问此物，倒有一面之缘。”&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is something metaphysical and cannot be divulged in advance.  At that time, just don't forget the two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 07:39, 22 November 2021 (UTC)&lt;br /&gt;
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The two immortals laughed and said, &amp;quot;It is metaphysical and cannot be divulged in advance. At that time, if you don't forget two of us, and you will be free from your predicament.&amp;quot; When Shi Yin heard this, he stopped pursuing the matter. He laughed and said, &amp;quot;Of course the mystery must not be divulged, but I don't quite understand what the 'stupid thing' is that you just mentioned. Perhaps I have a chance to see it?&amp;quot;  The monk said, &amp;quot;This thing you are asking about, you do have the fortune to see it.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 06:17, 29 November 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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说着取出，递与士隐。士隐接了看时，原来是块鲜明美玉，上面字迹分明，镌着“通灵宝玉”四字，后面还有几行小字。正欲细看时，那僧便说已到幻境，就强从手中夺了去。&lt;br /&gt;
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He said and took it out to ShiYin. ShiYin received it and found it a bright beautiful jade in which there were four clear characters:Tong Ling Bao Yu followes by several lines of words.When ShiYin craved for a careful look, that monk said that he had reached the illusion, so he snatched it from ShiYin's hand.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 02:57, 21 November 2021 (UTC)&lt;br /&gt;
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Then he said as he took it out and handed it to Shi Yin. Shi Yin took a look, and it turned out to be a piece of bright beautiful jade, with clear writing above, engraved with the “Tongling jade”. There were a few lines of small characters behind. When he was about to take a closer look, the monk said he had reached the dreamland and snatched the jade from his hands.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:47, 22 November 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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和那道人竟过了一座大石牌坊，上面大书四字，乃是“太虚幻境”。两边又有一副对联道：假作真时真亦假，无为有处有还无。士隐意欲也跟着过去，方举步时，忽听一声霹雳，若山崩地陷。&lt;br /&gt;
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And with that Taoist priest actually passed a large stone archway, above which was engraved four big words, is “the Great Void Dreamland”.On both sides there was a pair of couplets: If false is taken as the truth, then truth is said to be lieing , when nothing is taken as being, then being itself is turned into nothing. Shih-yin also wanted to pass the big stone archway, but the moment he was about to raise his foot, he heard a crack of thunder which sounded as if the hills were rending asunder and the earth falling in.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:52, 21 November 2021 (UTC)&lt;br /&gt;
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And that Taoist passed a large stone pagoda, written on it four big words, is &amp;quot;Taixu fantasy realm&amp;quot;. On both sides, there is a couplet saying: &amp;quot;Falsehood is true when it is true, and there is nothing where there is nothing&amp;quot;. Shi Yin also wanted to follow, when just ready to raise his feet, he heard a thunderbolt all of a sudden, as if a landslide happened.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:48, 21 November 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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士隐大叫一声，定睛看时，只见烈日炎炎，芭蕉冉冉，梦中之事便忘了一半。又见奶母抱了英莲走来。士隐见女儿越发生得粉装玉琢，乖觉可喜，便伸手接来，抱在怀中，斗他玩耍一会。&lt;br /&gt;
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Shi Yin cried out, and when he fixed his eyes, only seeing the sun is shining, the weather is bright, and the plantains are flourishing, and then he forgot half of his dream. Later, the lactating mother coming with Yinglian in her arms. When Shi Yin noted that his daughter was becoming more and more beautiful and cute, he reached out and took her in his arms, and teased her for a while.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 02:43, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin cried out, fixing his eyes on the blazing sun and supplely drooping banana leaves, only to be oblivious to half of his dream. Then the wet nurse came over with Yinglian in her arms. Shiyin perceived that his daughter became so fair and lovely that he couldn’t wait to cradle her in his arms to amuse her.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 05:48, 21 November 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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又带至街前，看那过会的热闹。方欲进来时，只见从那边来了一僧一道：那僧癞头跣足，那道跛足蓬头，疯疯癫癫，挥霍谈笑而至。及到了他门前，看见士隐抱着英莲，那僧便大哭起来，又向士隐道：“施主，你把这有命无运、累及爹娘之物抱在怀内作甚？”&lt;br /&gt;
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Shiyin then took his lovely daughter out into the street to see the lively meeting. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They came over, crazy, talking and laughing. When they got to Shiyin’s door, seeing him holding Yinglian in his arms. The monk began to cry and said to Shiyin, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 01:35, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin then took his lovely daughter to the street to see the lively agora. When he was about to enter the door, he saw a monk and a Taoist priest coming from the other side: the monk had ringworm on his head and no shoes or socks on his feet; the Taoist priest was characterized by lameness and untidy hair. They acted like a lunatic and came over,talking and laughing. When they got to Shiyin’s door, seeing him holding Yinglian in his arms. The monk began to cry and said to Shiyin, “ Benefactor, why did you cradle such an ill-fated and encumbering child in your arms？”--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 06:06, 21 November 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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士隐听了，知是疯话，也不睬他。那僧还说：“舍我罢，舍我罢。”士隐不耐烦，便抱着女儿转身。&lt;br /&gt;
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After listening to him,Shiyin knew that it's crazy words and ignored him.But the monk also said:&amp;quot;Give her to me,give her to me.&amp;quot; Shiyin was impatient,so he held his daughter and turned to leave.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 05:59, 21 November 2021 (UTC)&lt;br /&gt;
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After listening to him, Shiyin knew that it was lunatic ravings and ignored him. But the monk complemented:&amp;quot;Give her to me, give her to me.&amp;quot; Shiyin got impatient, so he embraced his daughter and turned around. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:14, 23 November 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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才要进去，那僧乃指着他大笑，口内念了四句言词，道是：惯养娇生笑你痴，菱花空对雪澌澌。好防佳节元宵后，便是烟消火灭时。&lt;br /&gt;
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When he was about to get in, the monk pointed at him and laughed, mumbling four sentences, which mean “how crazy that you pamper your daughter like this, (see you embrace Yinglian), just like the summer lotus are exposed to the winter snow. Beware of the days after the Lantern Festival, then there is a fire to vanish everything.”--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 03:03, 21 November 2021 (UTC)&lt;br /&gt;
When he wanted to go in, the monk pointed at him and laughed, saying…--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:56, 24 November 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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士隐听得明白，心下犹豫，意欲问他来历，只听道人说道：“你我不必同行，就此分手，各干营生去罢。三劫后，我在北邙山等你，会齐了，同往太虚幻境销号。”那僧道：“最妙，最妙。”&lt;br /&gt;
Shi Yin understood and hesitated, intending to ask him where he came from. The Taoist said, &amp;quot;You and I don't need to go together. Three days later, I wait for you in north mangshan, meet together, with the imaginary land sales number.&amp;quot; The monk said, &amp;quot;The best, the best.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:44, 24 November 2021 (UTC)&lt;br /&gt;
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Shiyin understood,hesitated in his heart,and wanted to ask him where he came from.He only heard the Taoist say: &amp;quot;You and I don't have to go together, just break up and go to work. After the Three Tribulations, I will wait for you in Beimanshan,nnd go to the Tai Unreal Realm to sell the number.&amp;quot; The monk said: &amp;quot;The most wonderful, the most wonderful.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:40, 28 November 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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说毕，二人一去，再不见个踪影了。士隐心中此时自忖：“这两个人必有来历，很该问他一问，如今后悔却已晚了。”这士隐正在痴想，忽见隔壁葫芦庙内寄居的一个穷儒，姓贾名化、表字时飞、别号雨村的走来。&lt;br /&gt;
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After that,the two went away,and they were nowhere to be seen.Shiyin thought to himself at this moment: &amp;quot;These two people must have a history.It's time to ask him,but now it's too late to regret.&amp;quot; Shiyin was thinking about it,but suddenly saw a poor scholar living in the Hulu temple next door whose first name is Jia,last name hua,Courtesy name Shifei,and another name Yucun came.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 13:37, 28 November 2021 (UTC)&lt;br /&gt;
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After saying that, the two went away, and there was no sign of them anymore. Shiyin thought to himself at this moment: &amp;quot;These two people surely had some backgrounds. I should have asked him, but it was too late to regret now.&amp;quot; Shiyin was daydreaming, but suddenly saw a poor scholar living in the Hulu temple next door coming up. His first name is hua, last name is jia, secondary personal name is Shifei, and another name is Yucun.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 28 November 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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这贾雨村原系湖州人氏，也是诗书仕宦之族。因他生于末世，父母祖宗根基已尽，人口衰丧，只剩得他一身一口。在家乡无益，因进京求取功名，再整基业。&lt;br /&gt;
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Jia Yucun was born in Huzhou and came from a family of Confucian scholars and officials. Because he was born in last phase of age, the roots of his ancestors had died out. Family declined, and left him alone. He found no benefit in hometown, so he went to Beijing to strive for fame and tried to make another solid foundation for family.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 03:10, 21 November 2021 (UTC)&lt;br /&gt;
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Jia Yucun came from Huzhou and was born in a family of scholars and officials. However, because he was born in the last phase of the age, the root of his ancestors had died out and family declined, leaving him alone in the world. He found no benefit in hometown, so he went to Beijing to strive for success and fame and tried to make the revitalization of his family.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 04:46, 21 November 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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自前岁来此，又淹蹇住了，暂寄庙中安身，每日卖文作字为生，故士隐常与他交接。当下雨村见了士隐，忙施礼陪笑道：“老先生倚门伫望，敢街市上有甚新闻么？”士隐笑道：“非也。适因小女啼哭，引他出来作耍。正是无聊的很，贾兄来得正好，请入小斋，彼此俱可消此永昼。” &lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun had led a hard life, living only in a temple. He wrote poems and articles in exchange for money every day, so Shiyin often often met with him. Once Yucun saw Shiyin, hurriedly saluted and said with a smile, &amp;quot; Sir, you are leaning on the door and looking at something. Is there any news in the market?&amp;quot; Shiyin smiled and said, &amp;quot;No. Just because my little girl cried, so I took her out to play. I am so bored now and you are so nice to appear in time. Please come into my study with me, so that we can both kill the boring time.&amp;quot; --[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 03:35, 21 November 2021 (UTC)&lt;br /&gt;
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Since arriving in Beijing the year before last, Jia Yuchun found himself in difficult conditions and desperate straits. He lived only in a temple and made a living by writing in exchange for money every day, so Shiyin often met with him. At that moment, Yucun saw Shiyin, hurriedly saluted and said with smile, &amp;quot; An old gentleman as you, leaning on the door and looking at something, I wander that is there any news in the street?&amp;quot; Shiyin smiled and said, &amp;quot;Hardly, just because my little girl cried, so I take her out to play. I am so bored now and you‘ve come just at the right moment. Please come into my study, so that we can spend the long day together.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 14:13, 23 November 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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说着，便令人送女儿进去。自携了雨村来至书房中，小童献茶。方谈得三五句话，忽家人飞报：“严老爷来拜。”&lt;br /&gt;
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While he was talking, he asked someone to take his daughter back to her room. Then he took Yucun to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:30, 23 November 2021 (UTC)&lt;br /&gt;
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While talking, he asked someone to take his daughter back to her room. Then he took Yucun to his study, and a child offered a cup of tea for each of them. But just said a few words, suddenly the family member came quickly to say that &amp;quot;Master Yan came to visit.&amp;quot; --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:01, 24 November 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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士隐慌忙起身谢道：“恕诓驾之罪。且请略坐，弟即来奉陪。”雨村起身也让道：“老先生请便。晚生乃常造之客，稍候何妨！”说着，士隐已出前厅去了。&lt;br /&gt;
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Shiying stood up hurriedly and said, &amp;quot; Excuse me.Please sit for a moment first, and I will entertain you at once.&amp;quot; Yucun also stood up and answered:&amp;quot; Old gentleman, you go. I often come to you here as a guest, wait a little while is not the matter!&amp;quot; Said, Shiying had walked out of the guest room.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 02:51, 21 November 2021 (UTC)&lt;br /&gt;
Shiyin hurriedly got up and thanked, &amp;quot;excuse the crime of cheating driving. Please sit down and my brother will accompany you.&amp;quot; Yucun got up and said, &amp;quot;please help yourself, sir. My late life is a regular guest. Why not wait a minute!&amp;quot; said Shiyin, who had left the front hall.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 13:44, 22 November 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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这里雨村且翻弄诗籍解闷，忽听得窗外有女子嗽声。雨村遂起身往外一看，原来是一个丫鬟在那里掐花儿：生的仪容不俗，眉目清秀，虽无十分姿色，却也有动人之处。雨村不觉看得呆了。那甄家丫鬟掐了花儿，方欲走时，猛抬头见窗内有人：敝巾旧服，虽是贫窘，然生得腰圆背厚，面阔口方，更兼剑眉星眼，直鼻方腮。&lt;br /&gt;
Here in the rain village, I turned to poetry books to relieve my boredom. Suddenly I heard a woman coughing outside the window. Yucun then got up and looked out. It turned out that it was a servant girl pinching flowers there: Sheng's appearance was not vulgar and his eyebrows were beautiful. Although he was not very beautiful, he was also moving. Yucun was stunned. The Zhen servant girl pinched the flowers. When Fang was about to leave, she suddenly looked up and saw someone in the window: Although I was poor and embarrassed, I had a round waist, thick back, wide face and square mouth. I also had sword eyebrows, star eyes, straight nose and square cheeks.&lt;br /&gt;
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Yuncun was reading poems to relieve his boredom, suddenly hearing a girl outside the window coughing. Yucun stood up and found a housemaid picking flowers: she was of good appearance and pretty features. Although she was not perfect, she had something touching. Yucun felt stunned. The girl had pinched the flowers and was about to leave when she suddenly raised her head and saw someone in the window. In rags, he had a round waist and a thick back, a wide face and a square mouth, with a sword eyebrow and star eyes, a straight nose and a square cheek.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:14, 24 November 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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这丫鬟忙转身回避，心下自想：“这人生的这样雄壮，却又这样褴褛。我家并无这样贫窘亲友，想他定是主人常说的什么贾雨村了。怪道又说他必非久困之人，每每有意帮助周济他，只是没什么机会。”如此一想，不免又回头一两次。雨村见他回头，便以为这女子心中有意于他，遂狂喜不禁，自谓此女子必是个巨眼英豪，风尘中之知己。&lt;br /&gt;
The housemaid turned away quickly and said to herself:” the man is so grand and ragged. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have  a pair of wisdom eye and was his true friend in difficulty.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 02:16, 24 November 2021 (UTC)&lt;br /&gt;
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The housemaid turned away hurriedly and thought to herself:” the man is so strong, but his clothes are shabby. I don’t have such deprived friends and relatives, thus he must be Jia Yucun that the master has mentioned frequently. It’s said that he will not be trapped in poverty for a long time. The master has always meant to help him but doesn’t find a proper chance.”  At the thought of this, she looked back for several times, which misled Yu Cun to think the girl was attracted by him and felt very excited. He believed that the girl must have a good taste and was his true friend in difficulty.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:27, 24 November 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时小童进来，雨村打听得前面留饭，不可久待，遂从夹道中，自便门出去了。士隐待客既散，知雨村已去，便也不去再邀。一日，到了中秋佳节。&lt;br /&gt;
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When a child came in, yucun heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Shiyin had already served guests, knowing that yucun had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.&lt;br /&gt;
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When a child came in, Yucun heard that the host entertained the guests meal. Therefore, he knew that he couldn't stay long, so he went out through the lane and went out by himself. Later, Shiyin had already served guests, knowing that yucun had gone, so he didn't invite again. One day, it was the Mid Autumn Festival.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:53, 26 November 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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士隐家宴已毕，又另具一席于书房，自己步至庙中来邀雨村。原来雨村自那日见了甄家丫鬟曾回顾他两次，自谓是个知己，便时刻放在心上。今又正值中秋，不免对月有怀，因而口占五言一律云：&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:51, 26 November 2021 (UTC)&lt;br /&gt;
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Shiiyin‘s family banquet has been completed, and another seat in the study, he came to the temple to invite Yucun. It turns out that since that day Yucun saw the Zhen family maid had looked back at him twice, since he said he was a confidant, so he always put on his heart. Now it was the mid-autumn festival, so I couldn't help but feel nostalgic for the moon, so I took five words from the mouth and said.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 14:30, 28 November 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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未卜三生愿，频添一段愁。闷来时敛额，行去几回头。自顾风前影，谁堪月下俦？蟾光如有意，先上玉人楼。&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.&lt;br /&gt;
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I haven’t realized my dream yet, but had sorrowful experience. I often frown when I feel depressed and look back repeatedly when I farewell. With the wind blowing, I look at my shadow. Who can be my partner? If the moon helps,please shed light on the girl’s window and show her my love.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 12:02, 28 November 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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雨村吟罢，因又思及平生抱负，苦未逢时，乃又搔首对天长叹，复高吟一联云：玉在椟中求善价，钗于奁内待时飞。恰值士隐走来听见，笑道：“雨村兄真抱负不凡也！”&lt;br /&gt;
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After Yucun finished reciting the love poems of Jiao Xing, he thought of his great ambitions and thought that he had not met a good time, so he recited a pair of couplets that he created aloud: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Shiyin came to hear it, Shiyin smiled and said, &amp;quot;Brother Yucun is really ambitious!&amp;quot;--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:38, 24 November 2021 (UTC)&lt;br /&gt;
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After Yucun finished reciting the love poems of Jiao Xing, he thought of his great ambitions and thought that he had not met a good time, so he recited aloud a pair of couplets that he created: &amp;quot;Jade and hairpin are all placed in the box, hoping that one day it can realize its value and play its role.&amp;quot; Just when Shiyin came to hear it, Shiyin smiled and said, &amp;quot;Yucun is really ambitious!&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 16:53, 28 November 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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雨村忙笑道：“不敢。不过偶吟前人之句，何期过誉如此！”因问：“老先生何兴至此？”士隐笑道：“今夜中秋，俗谓团圆之节。想尊兄旅寄僧房，不无寂寥之感。故特具小酌，邀兄到敝斋一饮。不知可纳芹意否？”&lt;br /&gt;
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Yucun laughed and hurriedly said, &amp;quot;No no, I just recite the words of the predecessors. You speak too highly of me!&amp;quot; he asked, &amp;quot;Why did you come here, sir?&amp;quot; Shiyin smiled, &amp;quot;Tonight is the reunion time of Mid Autumn Festival. You lodged with a monk's room alone. So I come to invite you to have a drink with me. What do you think?&amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:51, 21 November 2021 (UTC)&lt;br /&gt;
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 &amp;quot;Why did you come here, master?&amp;quot;&lt;br /&gt;
 You are lodged with a monk's room alone. &lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 14:09, 28 November 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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雨村听了，并不推辞，便笑道：“既蒙谬爱，何敢拂此盛情！”说着，便同士隐复过这边书院中来了。须臾茶毕，早已设下杯盘，那美酒佳肴，自不必说。&lt;br /&gt;
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Hearing this, Yucun did not refuse, but said with a smile: &amp;quot;Since I am indebted to you, I dare not live up to this feeling.&amp;quot; Then he and Shiyin came to the academy here. In a moment they had finished their tea, and a feast had already been set up, with wine and food, in which the delicacy was all.&lt;br /&gt;
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They went to the court in front of Shiyin's study. Soon they had fin rished their tea and sat down to a collation of choice wine and delicacies.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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二人归坐，先是款酌慢饮；渐次谈至兴浓，不觉飞觥献斝起来。当时街坊上家家箫管，户户笙歌；当头一轮明月，飞彩凝辉。二人愈添豪兴，酒到杯干。&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked and they began to drink more recklessly.  At that time, Flutes and  strings can be heard everywhere and every family in the neighborhood was singing; When a bright moon rises, The two became more and more cheerful, and the wine dried cup up.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 14:26, 27 November 2021 (UTC)&lt;br /&gt;
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At first, they drank slowly,but their spirits rose as they talked in depth， they began to drink more recklessly.  At that time, the sound of flutes and  strings can be heard everywhere and every family in the neighborhood was playing and singing; When a bright moon rises, The two became more and more cheerful and drained cup after cup.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 11:39, 28 November 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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雨村此时已有七八分酒意，狂兴不禁，乃对月寓怀，口占一绝云：时逢三五便团圆，满把清光护玉栏。天上一轮才捧出，人间万姓仰头看。士隐听了，大叫：“妙极！弟每谓兄必非久居人下者，今所吟之句，飞腾之兆已现，不日可接履于云霄之上了。可贺，可贺！”&lt;br /&gt;
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Yucun, eight-tenths drunk, cannot suppress his high spirits. As he gazed at the moon, he fostered thoughts, to which he gave vent by the recital of a double couplet.&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Shiyin with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses are a prognostic of your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！&lt;br /&gt;
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Yucun, eight-tenths drunk, cannot suppress his elation. As he gazed at the moon, he improvised a poetry to the moon and declaimed it:&lt;br /&gt;
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&amp;quot;On the fifteenth the moon is full, Her pure rays fill the court; As her bright orb sails up the sky, All men on earth gaze upwards at the sight.&amp;quot; &lt;br /&gt;
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&amp;quot;Excellent!&amp;quot; cried Shiyin with a loud voice, after he had heard these lines; &amp;quot;I have repeatedly maintained that it was impossible for you to  remain in a subordinate position for a long period, and now the verses reveals your rapid advancement. In a few days you will extend your footsteps far above the clouds! Let me congratulate you.&amp;quot;！--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:36, 28 November 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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乃亲斟一斗为贺。雨村饮干，忽叹道：“非晚生酒后狂言，若论时尚之学，晚生也或可去充数挂名。只是如今行李路费，一概无措，神京路远，非赖卖字撰文，即能到得。”士隐不待说完，便道：“兄何不早言？弟已久有此意，但每遇兄时，并未谈及，故未敢唐突。今既如此，弟虽不才，‘义利’二字，却还识得。且喜明岁正当大比，兄宜作速入都，春闱一捷，方不负兄之所学。其盘费馀事，弟自代为处置，亦不枉兄之谬识矣。”&lt;br /&gt;
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Shiyin filled another large cup of alcohol. Yucun tossed it off and then signed. &amp;quot;Don't think this is just a talk after being drunk,&amp;quot; he said, &amp;quot;I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say so before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it it is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a firend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 04:28, 28 November 2021 (UTC)&lt;br /&gt;
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Shiyin filled another large cup of alcohol for congratulation. Yucun tossed it off and then sighed: &amp;quot;Don't think this is just a talk after drinking. I'm sure I could acquit myself quite creditably in the examinations, but I have no money in my wallet for my travelling expenses and the capital is far away. I can't raise enough money only by selling my words and articles ....&amp;quot; &amp;quot;Why didn't you say that before?&amp;quot; interjected Shiyin. &amp;quot;I've always thought about this, but since you never mentioned it.It is inappropriate for me to mention this subject. If that's how things are, dull as I am at least I know what's due to a real friend. Luckily the Metropolitan Examinations are coming up next year. You must go as fast as you can to the capital and prove your learning in the Spring Test. I shall take it an honor to take care of the travelling expenses and other business for you.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 11:43, 28 November 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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当下即命小童进去，速封五十两白银并两套冬衣。又云：“十九日乃黄道之期，兄可即买舟西上。待雄飞高举，明冬再晤，岂非大快之事！”雨村收了银、衣，不过略谢一语，并不介意，仍是吃酒谈笑。&lt;br /&gt;
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Shiyin immediately ordered the child to go in and quickly seal fifty liang silver and two sets of winter clothes. And he also said, &amp;quot;the 19th of March is the time of the zodiac, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:23, 21 November 2021 (UTC)&lt;br /&gt;
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Shiyin immediately ordered the child in and seal fifty liang silver and two suits of winter clothes quickly. Then he said, &amp;quot;the 19th of March is favorable time, and you can buy a boat to the west. Isn't it a great pleasure to wait for triumph of the war[1] and meet again the next winter?&amp;quot; Yucun received the silver and clothes, but he thanked Shiyin a little. He didn't mind and was still drinking wine, talking and laughing.&lt;br /&gt;
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[1]The war between Li Zicheng and the emperor Chongzhen. On March 19 of the lunar calendar in 1644, Emperor Chongzhen of the Ming Dynasty hanged himself. Then, Li Zicheng entered Beijing to overthrow the Ming Dynasty.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:15, 23 November 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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那天已交三鼓，二人方散。士隐送雨村去后，回房一觉，直至红日三竿方醒。因思昨夜之事，意欲写荐书两封与雨村，带至都中去，使雨村投谒个仕宦之家，为寄身之地。&lt;br /&gt;
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Jia Yunchun and Zhen Shiyin drank until midnight and then dispersed. Zhen Shiyin sent Jia Yuchun bedchamber and went back his room to sleep. He didn't wake up until the late morning. Considering Zhen Shiyin's bad conditions, Zhen Shiyin intended to write two recommendation letters for Jia Yuchun, so Jia Yuchun could take and deliver it to a family of dignities in Qi Zhou city to find a place to stay.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 06:10, 25 November 2021 (UTC)&lt;br /&gt;
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These two friends drank until midnight and then left. Zhen Shiyin sent Jia Yuchun back to his bedchamber and headed back to sleep. He didn't wake up until the noon time. Zhen Shiyin intended to write two recommendation letters for Jia Yuchun considering his bad condition, so Jia Yuchun could take and deliver it to some family of dignities in Qi Zhou city to find a fine place to settle.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 05:11, 29 November 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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因使人过去请时，那家人回来说：“和尚说：贾爷今日五鼓已进京去了，也曾留下话与和尚转达老爷，说：‘读书人不在黄道黑道，总以事理为要，不及面辞了。’”士隐听了，也只得罢了。真是闲处光阴易过，倏忽又是元宵佳节。&lt;br /&gt;
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The family came back and said, “The monk said: The Five Drums of Master Jia has entered Beijing today, and he also left a message with the monk to convey to the master, saying:'The scholar is not in the zodiacal and underworld, and he always takes affair as the priority. , It's too late to resign.'&amp;quot; Shiyin listened and had no choice but to leave. It's really easy to spend leisure time, and suddenly it is the Lantern Festival.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 13:21, 28 November 2021 (UTC)&lt;br /&gt;
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When the family came back, they said, &amp;quot;The monk said that Master Jia had gone to the capital between three and five o'clock today, and had left a message for the monk to convey to you, saying, 'No matter what the background of a scholar is, it is always important to take care of things, so it is too late to say goodbye.'&amp;quot; When Shi Yin heard this, he had no choice but to do nothing. It was easy to spend time at leisure, and suddenly it was the Lantern Festival again.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 13:36, 28 November 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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士隐令家人霍启抱了英莲，去看社火花灯。半夜中霍启因要小解，便将英莲放在一家门槛上坐着。待他小解完了来抱时，那有英莲的踪影。&lt;br /&gt;
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Zhen Shiyin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi had to take a piss, so he left Yinglian sitting on the threshold of a door. When he came to carry her after taking a piss, there was no sign of Yinglian.&lt;br /&gt;
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Shi Yin asked his family member Huo Qi to carry Yinglian and go to see the lanterns. In the middle of the night, Huo Qi left Yinglian alone sitting on the threshold of a door because of the urgency of urinating. When he came back,Yinglian disappeared.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 09:11, 27 November 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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急的霍启直寻了半夜，至天明不见。那霍启也不敢回来见主人，便逃往他乡去了。那士隐夫妇见女儿一夜不归，便知有些不好。再使几人去找寻，回来皆云影响全无。&lt;br /&gt;
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Huo Qi was so anxious that he looked for her all night and did not find her by dawn. So he did not dare to return to meet the host and he fled to his hometown. Mr. and Mrs. Shi Yin felt something is about to go wrong when they found their daughter didn't go home all night.  They sent more people to look for her, but when they came back they said they didn't have any trace of her.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 14:22, 21 November 2021 (UTC)&lt;br /&gt;
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Being so anxious, Huo Qi looked for her all night but in vain till dawn. Dare not to return to his master, he fled to another place. Mr. and Mrs. Shi Yin felt something wrong when their daughter didn't go home all night. More people were sent to look for her, but only to find no trace of her.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:11, 22 November 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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夫妻二人半世只生此女，一旦失去，何等烦恼，因此昼夜啼哭，几乎不顾性命。看看一月，士隐已先得病，夫人封氏也因思女搆疾，日日请医问卦。不想这日三月十五，葫芦庙中炸供，那和尚不小心，油锅火逸，便烧着窗纸。&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the thought of losing their only child. They wept day and night, almost risking their lives. In January, Shi Yin was already sick, and his wife Feng shi also fell ill for missing her daughter excessively and had to see doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:57, 22 November 2021 (UTC)&lt;br /&gt;
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The couple, having spent half of their lifetime, couldn't bear the annoyance of losing their only daughter. They wept all days and nights, almost risking their lives. In January, Shi Yin was already sick, and his wife Feng shi also got ill for missing her daughter excessively and had to call the doctors and fortunetellers everyday. Unfortunately, on March 15, when frying tributes in the calabash Temple, the careless monk let the fire escape from the oil boiler, which set the window paper on fire.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:11, 28 November 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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此方人家俱用竹篱木壁，也是劫数应当如此，于是接二连三，牵五挂四，将一条街烧得如火焰山一般。彼时虽有军民来救，那火已成了势了，如何救得下，直烧了一夜方熄，也不知烧了多少人家。只可怜甄家在隔壁，早成了一堆瓦砾场了，只有他夫妇并几个家人的性命不曾伤了，急的士隐惟跌足长叹而已。&lt;br /&gt;
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This family deserves this fate for using bamboos and wood as hedge. One by one, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. Poor Zhen's house next door had turned into a pile of rubble, only the couple and the families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 14:44, 22 November 2021 (UTC)&lt;br /&gt;
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This family deserved this fate for using bamboos and wood as hedge. One house by one house, the whole street burnt like the Mountain of Flames. At that time, though the army and people came for rescue, the fire had already been too large to put out. It didn't burn until the morning. It cannot be estimated that how many houses had been destroyed. The fire had turned Poor Zhen's house next door into a pile of rubble, only the couple and several families unhurt, which made Zhen Shiyin anxious and sigh deeply.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:47, 24 November 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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与妻子商议，且到田庄上去住。偏值近年水旱不收，贼盗蜂起，官兵剿捕，田庄上又难以安身。只得将田地都折变了，携了妻子与两个丫鬟，投他岳丈家去。&lt;br /&gt;
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He discussed with his wife, and went to live on the farm. However, in recent years, harvests have been ruined by flood and drought, and thieves and robbers have been rising. It was difficult to settle down on the farm. He had to sell his lands at a discount and took his wife and two maids to seek his father-in-law's help.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 10:42, 24 November 2021 (UTC)&lt;br /&gt;
Take counsel with his wife, and come to live at the Grange. Partial value in recent years flood and drought do not harvest, thieves bee, officers and soldiers suppression, the grange and difficult to live. He had to change the land and went to his husband's house with his wife and two maids.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:22, 28 November 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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他岳丈名唤封肃，本贯大如州人氏，虽是务农，家中却还殷实。今见女婿这等狼狈而来，心中便有些不乐。幸而士隐还有折变田产的银子在身边，拿出来托他随便置买些房地，以为后日衣食之计。&lt;br /&gt;
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His father-in-law's name was Feng Su. His native place was Daruzhou. Although he was a farmer, his family was well off. Now, seeing her son-in-law come in such a discomfiture, I felt unhappy. Fortunately, there are hidden converted field of silver in the side, took out to entrust him to buy some premises, that the day after the means of food and clothing.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 10:19, 21 November 2021 (UTC)&lt;br /&gt;
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His father-in-law's name was Feng Su, who was originally from Daru State. Although he was a farmer, his family was well off. Now, seeing his son-in-law come in such a discomfiture, he felt unpleasant inside. Fortunately, there are hidden silver of converted field by his side, so he took it out to entrust him to purchase some premises for buying food and clothing in the future.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:40, 28 November 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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那封肃便半用半赚的，略与他些薄田破屋。士隐乃读书之人，不惯生理稼穑等事，勉强支持了一二年，越发穷了。封肃见面时，便说些现成话儿；且人前人后，又怨他不会过，只一味好吃懒做。&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Shi Yin was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 11:34, 28 November 2021 (UTC)&lt;br /&gt;
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Feng Su made money while using some of it, and provided small fields and a shabby house with him. Hidden Truth was a scholar and was not used to farming and other handworks. He reluctantly struggled for a year or two and became poorer and poorer. When Feng Su met him, he said something ready-made. But behind Shiyin's back, he complained that he couldn't live his life well by just being lazy.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 12:15, 28 November 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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士隐知道了，心中未免悔恨；再兼上年惊唬，急忿怨痛：暮年之人，那禁得贫病交攻，竟渐渐的露出那下世的光景来。可巧这日拄了拐，扎挣到街前散散心时，忽见那边来了一个跛足道人，疯狂落拓，麻鞋鹑衣，口内念着几句言词道：&lt;br /&gt;
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When Hidden Truth found out about this, he felt remorse in his heart; he was also frightened of the previous year, and he felt angry and resentful: a man in his twilight years, who could not help being attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with sackcloth shoes and quails, reciting a few words under his breath.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 02:26, 22 November 2021 (UTC)&lt;br /&gt;
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When Hidden Truth found out this, he felt remorse in his heart; he was also frightened of the previous year, angry and resentful: a man in his twilight， who could not be able to be attacked by poverty and illness, was gradually revealing the scene of his next life. It happened that when he was on crutches, he went to the street for a walk, and suddenly he saw a crippled Taoist, crazy and untidy, with ragged shoes and clothes，reciting a few words under his breath.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 07:00, 22 November 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
世人都晓神仙好，惟有功名忘不了。古今将相在何方？荒冢一堆草没了。世人都晓神仙好，只有金银忘不了。终朝只恨聚无多，及到多时眼闭了。&lt;br /&gt;
&lt;br /&gt;
The common people know that immortals are good, but they can't forget their achievements and fame. Where are the generals and prime ministers from ancient times to the present？What we can see are just deserted graves full of grass. The common people  know that immortals are good, but they can‘t forget gold and silver. Till the end of life，they would regret their inability to create as much wealth as possible when they are alive and regret they are going to the heaven after they have accumulated plenty of wealth.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 02:42, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
All the common people know that immortals are good, but they can't forget their achievements and ambitions. Where are the great ones of old？They are just deserted graves full of grass. All the common people know that immortals are good, but they can‘t forget gold and silver. They grub for money all their lives until death seals up their eyes.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 07:24, 21 November 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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世人都晓神仙好，只有姣妻忘不了。君生日日说恩情，君死又随人去了。世人都晓神仙好，只有儿孙忘不了。痴心父母古来多，孝顺子孙谁见了？&lt;br /&gt;
&lt;br /&gt;
All men want to be immortals, but dote on the wives they’ve married. Those who swear to love their husband forever, but  remarry as soon as he’s dead. All men want to be immortals, but dote on the sons they’ve gotten. Although infatuated parents are numerous, who ever saw really filial sons or daughters?--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:05, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Everyone in the world knows that the gods are good, but only the pretty wife can't forget. You swear to remember your husband’s  kindness, but when your husband die, you go away with others. Everyone knows that the gods are good, but only the children and grandchildren cannot be forgotten. There are many loving parents in the past, but who has seen the filial children?--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:04, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
士隐听了，便迎上来道：“你满口说些什么？只听见些‘好’、‘了’，‘好’、‘了’。”那道人笑道：“你若果听见‘好’、‘了’二字，还算你明白。可知世上万般，好便是了，了便是好：若不了，便不好；若要好，须是了。我这歌儿便叫《好了歌》。&lt;br /&gt;
When the hermit heard it, he came up and said, &amp;quot;What are you talking about ?&amp;quot; I just hear 'Hao’ (means good), 'Liao' (means end) 'Hao’, ‘Liao'. The man laughed, &amp;quot;If you hear the words 'Hao' and 'Liao', you understand it. In this world, good is end, and the end is good. If there is no end, there is no good, and vice versa. My song is called ‘The Song of ‘Hao’ and ‘ Liao’. ”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 08:54, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hidden Truth came over after heard this and said: “ What are you talking about? I just hear the words ‘good’ and ‘end’.” That man laughed, “ You heard the words ‘good’ and ‘end’, that means you got a few things going for you. In this world, good is end, and end is good. If there is no end, there is no good, and vice versa. My song is called ''All Dood Things Must End''.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 12:19, 22 November 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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士隐本是有夙慧的，一闻此言，心中早已悟彻，因笑道：“且住，待我将你这《好了歌》注解出来何如？”道人笑道：“你就请解。”士隐乃说道：陋室空堂，当年笏满床。&lt;br /&gt;
&lt;br /&gt;
So intelligent, Hidden Truth understood the essence of the song entirely in his head as soon as he heard it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of beds and boards used by dignitaries at that time.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 08:01, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So intelligent as Hidden Truth is, he  understood the essence of the song entirely in his head as soon as once hearing it, and said: “ Wait a minute. How about I explain your song ''All Good Things Must End'' ？” The Taoist priest said, laughing : “ Would you please explain.” Hidden Truth then explain: “ The empty and dilapidated rattraps we see today, were the grand mansions full of boards used by  courtiers at that time.”--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:23, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
衰草枯杨，曾为歌舞场。蛛丝儿结满雕梁，绿纱今又在蓬窗上。说甚么脂正浓，粉正香，如何两鬓又成霜？&lt;br /&gt;
Humble hovels and abandoned halls where courtiers once paid daily calls；Bleak places where weeds and trees scarcely thrive&lt;br /&gt;
were once with a show of peace and prosperity．When cobwebs cover the mansion’s gilded beams，and collage casement with choice muslin gleams．Would you of perfumed elegance recite? Even as you speak, the raven locks turn white．--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:06, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Withered grass and withered poplar, This used to be a place where people sang and danced. The spider silk is full of carved beams, but the green gauze is on the simple window. The fat is thick and the powder is fragrant, how the temples become the color of frost?--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:20, 25 November 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
昨日黄土陇头埋白骨，今宵红绡帐底卧鸳鸯。金满箱，银满箱，转眼乞丐人皆谤。正叹他人命不长，那知自己归来丧。&lt;br /&gt;
&lt;br /&gt;
Yesterday the bones were buried in the loess, and the mandarin ducks(allusions to couples) lie under the red silk tent tonight. Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighing that the lives of others are not long, and I know I'm back to be mourned.&lt;br /&gt;
&lt;br /&gt;
Yesterday the bones were buried in the loess, then tonight it is the time for a newly married couple to sleep behind bed curtains with burning red candle lights.Boxes full of gold, boxes full of silver, everyone yelled and insulted beggars in a blink of an eye. I'm sighed that the lives of others are not long, but failed to predict my own future after return from the funeral.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:36, 28 November 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
训有方，保不定日后作强梁；择膏粱，谁承望流落在烟花巷。因嫌纱帽小，致使锁枷扛；昨怜破袄寒，今嫌紫蟒长。乱烘烘，你方唱罢我登场，反认他乡是故乡。&lt;br /&gt;
&lt;br /&gt;
Though she was well educated according to her parent's plan, one can become a bandit later. She tried her best to marry into a rich family. However, she ended up in a (red-light)? district beyond everyone's expectation. People who are not satisfied with their positions have to spend the rest of their life in a prison in chains. People who used to be very poor and used worn coats to resist the cold were not satisfied with fancy clothes after they became rich. I come on the stage as soon as you have finished your singing in a chaotic manner. Taking other's hometown as my own. --[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 11:42, 22 November 2021 (UTC)--[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 16:56, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If properly educated under parents' guidance, one can probabaly become a bandit later. Although trying her best to marry a rich man, she ends up with a driftage in the red-light district beyond everyone's expectation. People's unsatisfication with their positions leads to their miserable life in prison with chains on their bodies. People who used to be very poor and used worn coats to resist the cold were not satisfied with gorgeous clothes any more when they became rich. In noisy disorder, you just finished and I come on the scene.Instead, taking other's hometown as my own.--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 15:17, 25 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
甚荒唐，到头来，都是为他人作嫁衣裳。那疯跛道人听了，拍掌大笑道：“解得切，解得切！”士隐便说一声：“走罢。”&lt;br /&gt;
&lt;br /&gt;
It's so ridiculous. In the end, they made wedding clothes for others. Hearing this, the crazy lame Taoist clapped his hands and laughed, saying &amp;quot;All right, all right !&amp;quot; Then Shiyin said, &amp;quot;let's go.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
It's ridiculous. In the end, they make wedding clothes for others. The crazy lame Taoist listened, clapped his hands and laughed and said, &amp;quot;it's right, it's right!&amp;quot; Shiyin said, &amp;quot;let's go.&amp;quot;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:43, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
== Headline text ==&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
将道人肩上的搭裢抢过来背上，竟不回家，同着疯道人飘飘而去。当下哄动街坊，众人当作一件新闻传说。封氏闻知此信，哭个死去活来。&lt;br /&gt;
&lt;br /&gt;
He grabbed the lap on the Taoist's shoulder and carried it on his back. He didn't go home and floated away with the crazy Taoist. At that moment, the neighborhood was stirred up and everyone regarded it as a news legend. When Feng heard this letter, he cried to death.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:34, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
只得与父亲商议，遣人各处访寻，那讨音信。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无奈何，只得依靠着他父母度日。&lt;br /&gt;
&lt;br /&gt;
He was so helpless that he had to rely on his parents to survive.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
幸而身边还有两个旧日的丫鬟伏侍，主仆三人，日夜作些针线，帮着父亲用度。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
那封肃虽然每日抱怨，也无可奈何了。&lt;br /&gt;
Although Feng Su complained every day, he was helpless&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
这日那甄家的大丫鬟在门前买线，忽听得街上喝道之声。&lt;br /&gt;
The other day, the eldest maid of the Chen family was buying thread at the door when she heard a shout from the street.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:50, 23 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
众人都说：“新太爷到任了。”&lt;br /&gt;
Everyone said: &amp;quot;The new grandfather has arrived&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
丫鬟隐在门内看时，只见军牢、快手一对一对过去，俄而大轿内抬着一个乌帽猩袍的官府来了。&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
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那丫鬟倒发了个怔，自思：“这官儿好面善，倒像在那里见过的。”&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
于是进入房中，也就丢过，不在心上。&lt;br /&gt;
&lt;br /&gt;
Then she went into the room and laid the matter aside ，without taking it to heart.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
至晚间正待歇息之时，忽听一片声打的门响，许多人乱嚷，说：“本县太爷的差人来传人问话！”&lt;br /&gt;
&lt;br /&gt;
English:&lt;br /&gt;
When I was about to rest in the evening, I heard a bang on the door suddenly, and many people shouted in disorder, saying, &amp;quot;The county's grandfather's messenger is here for questioning!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
封肃听了，唬得目瞪口呆。&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
Fengsu hear it,he gaped in consternation --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:28, 22 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
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不知有何祸事，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
Don't know something calamity happened, will describe in the ensuing chapter.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 06:36, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
If you don't know what calamity took place, listen to the break down given in the next chapter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:54, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
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通灵──“通灵宝玉”的简称。Psychic--short for ''Psychic Treasure.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 12:48, 21 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Psychic -- the abbreviation for &amp;quot;Psychic Treasure&amp;quot;. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:35, 24 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
亦即下文所说女娲炼石补天所剩的那块“顽石”，因其历经锻炼而“灵性已通”，并能幻化为贾宝玉，故称。&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky. As it has undergone training, it has &amp;quot;spiritual achievement&amp;quot; and can be transformed into Jia Baoyu, so it is called. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 03:48, 24 November 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
That is to say, the &amp;quot;stubborn stone&amp;quot; left by Nüwa's refining stone to replenish the sky, because it has undergone training, has &amp;quot;spiritually achieved&amp;quot; and can be transformed into Jia Baoyu, so it is called.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:10, 24 November 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
《石头记》──此书的本名。&lt;br /&gt;
&amp;quot;Story of the Stone&amp;quot; - the original name of the book. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 06:26, 24 November 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127951</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127951"/>
		<updated>2021-11-23T08:58:35Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Reference */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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30 Chapters（0/30)&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
　　In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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===''Legend of Zhen Huan'': A Case study===&lt;br /&gt;
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===Cultural Translation Strategies and Methods===&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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===Other Translation Methods===&lt;br /&gt;
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===Omission===&lt;br /&gt;
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===Addition===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2009). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation'' in 1981. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'' (1988), Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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=刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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===3.1 The application of communicative translation theory at lexical level===&lt;br /&gt;
Vocabulary is the foundation of sentences and the carrier of language application. The translation quality of vocabulary will directly affect the translation quality of sentences and even paragraphs. Therefore, under the guidance of communicative translation theory, this summary mainly analyzes the translation of words in The Pure Man and The Goat Family by adopting the strategies of translation modification and meaning extension on the basis of following the Chinese expression and diction habits and considering the understanding ability of Chinese readers.&lt;br /&gt;
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4.4.1 Transliteration&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
Eg.1 :그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
Translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Translation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
Eg. 2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
Eg. 3：쓰러진 동식이 걱정돼서라기보다, 아버지에 이어 어느 자식에게도 마음의 의지처를 갖지 못한 엄마를 향한 가여움때문에 나는 서둘러 친정으로 출발했다.&lt;br /&gt;
Translation：我赶紧往娘家奔去的原因与其说我担心晕倒的东植，不如说是对母亲的怜悯，因为父亲去世后，母亲没有了任何心灵依靠。&lt;br /&gt;
Translation：我赶紧往娘家奔去，与其说是因为担心晕倒的东植，不如说是因为心疼和担心母亲，毕竟父亲去世后，母亲没有了任何精神依靠。&lt;br /&gt;
In the original text ‘가여움’ is a noun, means poor, unfortunately, at the beginning of translation according to the original meaning of the translation, but not read through the sentence before and after will find the rest of the sentence, read incoherent, then consider when they use the techniques, the noun form transformed into verbs, this sentence will be more smooth, does not leave obscure sense for readers.&lt;br /&gt;
Eg. 4：그때, 그날의 아침을 떠올리는 건 막내딸뿐일까. 막내 여동생과 우연히 시내에서 만난 둘째 아들은 동생이 커피를 두모금쯤 마시고는 오빠, 난 왜 자꾸, 그러니까 껀떡하면 그때가 생각나는지 몰라, 그날 아침 말이야, 했을 때, 내색할 수는 없는 익숙한 지겨움을 느꼈다.&lt;br /&gt;
Translation：好像只有小女儿记得那天早晨发生的事情。二儿子在城里偶然遇见了小妹，便一起坐进了咖啡馆，小女儿刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Translation：好像只有小妹记得那天早晨发生的事情。我在城里偶然遇见了小妹，便一起坐进了咖啡馆，小妹刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Full text with the third perspective in telling the story of a family, at the beginning of the author in the translation, in the original &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot;, &amp;quot;둘 째 아 들&amp;quot; literal translation, the whole piece down not only give readers relationship chaotic feeling, experience and make the whole article, based on the theory of communicative translation, USES the change of translation, according to the relationship between the characters in the article, The noun &amp;quot;in the full text will 둘 째 아 들&amp;quot; changed into the first personal pronoun &amp;quot;I&amp;quot;, the &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot; translated into &amp;quot;kid sister&amp;quot;, and &amp;quot;큰 아 들&amp;quot;, &amp;quot;큰 딸&amp;quot;, &amp;quot;둘 째 딸&amp;quot; and &amp;quot;둘 째 아 들&amp;quot; respectively translated into &amp;quot;eldest brother&amp;quot;, &amp;quot;big sister&amp;quot;, &amp;quot;two sisters, strengthens the relationship of the characters in the article connected - At the same time, it also shortens the distance between the original text and the translated readers, enhances the affinity of the novel, and creates a story-oriented and readable reading atmosphere for readers.&lt;br /&gt;
4.1.2 Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
Eg.5 ：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
10: ①그러니까 엄 그러니까 엄 는 내 if 돈 얘기 wish to be added&lt;br /&gt;
것 taitei wish 렐.&lt;br /&gt;
②형 taitae 옆구 wish 를 툭 치며.&lt;br /&gt;
③까지는 살큼 익 罚 서 찬지름 치 서 찬지름 치 조선간 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 doctor Infoequalizer&lt;br /&gt;
原 文 : ① But mother seemed to have read my mind and gagged me first.&lt;br /&gt;
② The eldest brother poked me with his elbow.&lt;br /&gt;
③ When steamed seven or eight cooked, sprinkle with sesame oil and mix it well, which is better than those meat food.&lt;br /&gt;
&lt;br /&gt;
===3.2 The application of communicative translation theory at the sentence level===&lt;br /&gt;
&lt;br /&gt;
===3.3 The rhetorical application of communicative translation theory===&lt;br /&gt;
&lt;br /&gt;
===4 conclusion===&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)&amp;quot;our lives&amp;quot; 我们的一生&lt;br /&gt;
&lt;br /&gt;
(2)&amp;quot;This ignorance&amp;quot; 这种无知&lt;br /&gt;
&lt;br /&gt;
(3)&amp;quot;your and my ignorance&amp;quot; 你我的无知&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(4)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(5)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(6)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(7)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(8)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names, for example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(9)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019=&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
According to the Russian Constitution, every spring the Prime Minister of Russia is required to present to the State Duma an annual summary of the government's work, including a description of what Russia has accomplished in the past year in different areas , the challenges encountered, and the government's plans and goals set for the new year. The annual summary of the Russian government's work is one of the ways to know the development and future plans of Russia and the important document for studying Russia.This type of text belongs to the category of political essays. Therefore, it is important to master the translation strategies and methods of political essays.This paper takes the &amp;quot;Annual Work Summary of the Russian Government in 2019&amp;quot; as a study case, and the author uses the existing translation theories and methods as a guide to work on the translation, and summarizes some of his own experiences in the translation process, hoping that this paper can be helpful for the same type of translation research work.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Russia;Translation strategies and methods;Political essay;The Annual Summary of government's work&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The form of annual summary of the Russian government's work started in the Soviet period. Since the formation of the Soviet Union, at each congress of the High Council the head of the government would make a summary, which contained information about the situation of the accomplishment of government work and the problems encountered in various areas during the past year, as well as the plans and goals of the government for the new year. Such government summary has continued to the present day in Russia. &lt;br /&gt;
&lt;br /&gt;
The report on the work of the Russian government is not only the routine work of the prime minister, but also one of the ways for Russians and the whole world to understand the development and future of Russia. Thus, the annual government report can be described as an important document for the study of Russia. &lt;br /&gt;
&lt;br /&gt;
The government report belongs to the political essay style. In recent years, the political essay in Russian has been studied in increasing numbers. This mainly includes the following aspects: ①the features of this style; ②stylistics; ③translation strategies from Russian to foreign languages.&lt;br /&gt;
&lt;br /&gt;
Nowadays, quite a few native and foreign researchers are working on the research of this topic. For example, in the thesis &amp;quot; The Pronunciation Features of the political style of speech&amp;quot; (Veshchikova I. A.,1994) the author tells about the heterogeneity of literary language and one of the forms of its existence - the political style of speech and features of the organization of its phonetic varieties; And the article &amp;quot;Structural, semantic and functional features of references in the political style of Russian language&amp;quot; (Mizin O.A.,1973 ) was devoted to the characteristics of speech in publicist articles; also the book &amp;quot;Political style: new features&amp;quot; (E.M. Lazutkina,2008), and a textbook for students &amp;quot;Social-political style of speech&amp;quot; (Shvets A.V.,1984)and so on. Meanwhile, the results of Chinese researchers should be noted. For example, Wang Yingying(王莹莹), a graduate student of Heilongjiang University, wrote a paper in which the author summarized the features and ways of translation of phrases and expressions used in political essays. In addition, the textbook &amp;quot;Course of Translation from Russian to Chinese&amp;quot; (蔡毅，2009) edited by Cai Yi (蔡毅). In it, many example sentences come from the political essays. &lt;br /&gt;
&lt;br /&gt;
The following research methods are used in writing this paper:&lt;br /&gt;
1. Gather theoretical materials related to the selected topics;&lt;br /&gt;
2. Use relevant books on translation theories and underline specific sentences in the source text that use a particular translation theory;&lt;br /&gt;
3. Discover problems, solve problems, and generalize translation experiences.&lt;br /&gt;
&lt;br /&gt;
The paradigm in this paper -- “The Annual Summary of the Russian Government's Work of 2019”.&lt;br /&gt;
&lt;br /&gt;
The object of the paper -- the features of the political essays, translation theories and methods used during the translation of the source text and the experience gained during the translation.&lt;br /&gt;
&lt;br /&gt;
===Overview of Annual Summary of the Government's Work===&lt;br /&gt;
There are three types of government reports:State of the Union address, political speeches, and the report of the government on its performance. The first two began in the United States and the last in the Soviet Union. Since the formation of the Soviet Union, at each congress of the Soviet High Council, the head of the government would make a report that contained information about the situation of the government's work performance and the problems encountered in various areas over the past year, as well as the government's plans and goals for the new year. Such government reports continue to this day in Russia. Such a report on work of the government was learned in our country and has been used since 1954.&lt;br /&gt;
&lt;br /&gt;
====Definition of Annual Work Summary by Government====&lt;br /&gt;
According to the Russian constitution, every spring, the Russian Prime Minister must submit to the State Duma a report on the work of the government in order to detail the performance of various work in the past year, the goals for further development in various areas, as well as the opportunities and challenges faced in the areas like economy, politics, diplomacy, population, education, and so on. The report on the work of the Russian government for the year, as a rule, consists of three parts:&lt;br /&gt;
&lt;br /&gt;
① Overview of the main work of the government of the past year：&lt;br /&gt;
It is necessary to summarize the main work of the government for the previous year, achievements in various areas and the realization of major goals, and then to detail each specific achievement of the work.&lt;br /&gt;
&lt;br /&gt;
② Work tasks for this year：&lt;br /&gt;
Draw up the government's work plan in detail for this year and the main goals. At first, explain the main ideas and main tasks of the government's work this year, then divide the work into several categories and explain in detail the measures the government needs to take.&lt;br /&gt;
&lt;br /&gt;
③ The government's own planning:&lt;br /&gt;
Explain the construction plan for the government.&lt;br /&gt;
&lt;br /&gt;
====The features of political essays（Take Chinese government reports for example）====&lt;br /&gt;
1．At discourse level&lt;br /&gt;
&lt;br /&gt;
①Repeated references to the same things&lt;br /&gt;
&lt;br /&gt;
a. 2010 GWR:积极 45;大力31;全面30;着力16;切实17;有效9;充分8 发展 146，建设87，加强67 促进42&lt;br /&gt;
&lt;br /&gt;
b. 2009 vs 2010: 增强 19-18;加大23-56;加快44-56&lt;br /&gt;
&lt;br /&gt;
②Unnecessary modifiers&lt;br /&gt;
&lt;br /&gt;
a.更加周密地做好应对各种风险和挑战的准备。&lt;br /&gt;
Make even more thorough preparations to deal with risks and challenges of all kinds. &lt;br /&gt;
&lt;br /&gt;
b.无比优越 &lt;br /&gt;
incomparable superiority&lt;br /&gt;
&lt;br /&gt;
c.就事关当今世界、事关双边关系的一些全局性和长期性重大问题深入交换意见.&lt;br /&gt;
(we)have been engaged in in-depth exchange of views with them on important overarching and long-term issues concerning the world situation and bilateral relations.&lt;br /&gt;
d.我们几代、十几代甚至几十代人想的一件事，要做的一件事，是我们100年、1000年也不会动摇的一个方针。&lt;br /&gt;
This is what we must focus on and achieve-not just this generation but for generations to come. This is the policy that will not change in 100 years or 1,000 years.&lt;br /&gt;
&lt;br /&gt;
2.At sentence level&lt;br /&gt;
&lt;br /&gt;
①Long sentences&lt;br /&gt;
经过三十多年的改革开放，我们从“以阶级斗争为纲”到以经济建设为中心，全面推进社会主义现代化事业;从搞计划经济到推进各方面改革，建立起社会主义市场经济体制;从封闭状态和片面强调自力更生，到实行对外开放、发展国际合作；从以意识形态划线到主张各种社会制度和发展模式和谐生存，全方位发展对外关系，中国的变化可谓天翻地覆。&lt;br /&gt;
More than 30 years of reform and opening up has brought about earth-shaking changes in the country: from &amp;quot;taking class struggle as the key principle&amp;quot; to focusing on economic development and building socialist modernization on all fronts, from planned economy to socialist market economy through reform across the board, from a closed society and over emphasis on self-reliance to opening up and international cooperation, from emphasis on ideology in external relations to advocating harmonious co-existence of various social systems and development models and developing external relations in an all-round way.&lt;br /&gt;
&lt;br /&gt;
②Subjectless sentences&lt;br /&gt;
如果我们不能很好地处理同外部世界的关系，新世纪头20年由国际形势总体和平，大国关系相对平稳和新科技革命迅猛发展提供的发展机遇就可能丧失。&lt;br /&gt;
lf we fail to manage well our relations with the rest of the world, we might miss the development opportunities provided by the overall peace in the world relative stability in relations between major countries and fast progress in new science and technology revolution in the first 20 years of the new century.&lt;br /&gt;
&lt;br /&gt;
③Parallel structure&lt;br /&gt;
a.总之，中国人穷日子过得太久了，最大的战略意图就是使自己的日子一天比一天、一年比一年过得好些，希望地球上的人们日子也一天比一天、一年比一年过得好些除此别无他图。&lt;br /&gt;
In a word, the Chinese people have suffered long enough from poverty. Our greatest and only strategic intention is to live a better life, where every day is better than the previous one. We wish the same for all the people in the world.&lt;br /&gt;
&lt;br /&gt;
b.买的放心，吃的放心，用的放心。&lt;br /&gt;
Buy food and drugs with confidence and consume them with satisfaction&lt;br /&gt;
&lt;br /&gt;
3.At word level&lt;br /&gt;
&lt;br /&gt;
①Unnecessary words&lt;br /&gt;
a.经济增速陡然下滑&lt;br /&gt;
The pace of our economic growth suddenly slowed down&lt;br /&gt;
&lt;br /&gt;
b.进一步落实好扶残助残的各项政策&lt;br /&gt;
Further implement policies for assisting and supporting them&lt;br /&gt;
&lt;br /&gt;
c.注重共同利益、发展共同利益、维护共同利益 &lt;br /&gt;
We value, develop and protect common interests&lt;br /&gt;
&lt;br /&gt;
②Terms with national characteristics&lt;br /&gt;
&lt;br /&gt;
a.小康社会 &lt;br /&gt;
well -off/ well-to-do/affluent/comfortable&lt;br /&gt;
&lt;br /&gt;
b.加快全面建设小康社会进程&lt;br /&gt;
Pick up the pace of building a moderatly prosperous society in all respects&lt;br /&gt;
&lt;br /&gt;
c.要使中国人民能过上小康社会的生活&lt;br /&gt;
To enable the Chinese people to live a comfortable life A society of initial prosperity&lt;br /&gt;
&lt;br /&gt;
d.以求同存&lt;br /&gt;
seeking common ground while shelving differences&lt;br /&gt;
&lt;br /&gt;
e.坚持奉行互利共赢的开放战略&lt;br /&gt;
we follow the win-win strategy of opening up&lt;br /&gt;
&lt;br /&gt;
③Figurative expressions&lt;br /&gt;
&lt;br /&gt;
a.metaphorical expression&lt;br /&gt;
&lt;br /&gt;
龙头企业 pacesetting enterprise&lt;br /&gt;
法宝 key&lt;br /&gt;
&lt;br /&gt;
b.metonymical expression 转喻&lt;br /&gt;
&lt;br /&gt;
米袋子 grain supply&lt;br /&gt;
各国唯有同舟共济而不是同舟共“挤”，同舟共渡而不是同舟共“斗”，才有出路。&lt;br /&gt;
Countries should consider themselves passengers in the same boat and cross the river peacefully together instead of fighting one another and trying to push one another off the boat.&lt;br /&gt;
&lt;br /&gt;
====Source text introduction====&lt;br /&gt;
&lt;br /&gt;
On July 22, Russian Prime Minister Mikhail Mishustin made a speech in the State Duma reporting on the work of the government for 2019.Among the main topics of the speech of the head of the Cabinet of Ministers were the fight against coronavirus infection, support and development of healthcare, education, labor market and housing construction, support of business and backbone enterprises, ensuring macroeconomic and financial stability. Mishustin called the main goal of the government to improve the quality of life of every person in the country. The Prime Minister stressed that the updated Constitution of the Russian Federation increases the responsibility of all branches of power. According to the head of the government, the Russian economy could make a breakthrough, but this was prevented by the pandemic and oil prices.&lt;br /&gt;
&lt;br /&gt;
===Strategies and methods used in the translation process===&lt;br /&gt;
&lt;br /&gt;
The first requirement for translating works of political style is to faithfully and accurately express the political and ideological content of the original, so that the translation has the same influential function as the original. In this chapter, based on the aforementioned theories and strategies, the author analyzed several translation options using examples from the report.&lt;br /&gt;
&lt;br /&gt;
====At Lexical level====&lt;br /&gt;
=====Addition=====&lt;br /&gt;
=====Omission=====&lt;br /&gt;
=====Conversion=====&lt;br /&gt;
====At Syntactical level====&lt;br /&gt;
=====Linear Order Translation=====&lt;br /&gt;
=====Reverse Order Translation=====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=彭瑞雪 An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation Styles, Translation Strategies, ''Le spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits.  The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
&lt;br /&gt;
To begin with, the first part of the thesis will briefly introduce Liu Miqing’s theory of translation style. In the second part of the paper, according to form and content of text, a number of prose or prose poems will be selected from ''Le Spleen de Paris''. Through textual analysis, we will discuss Gou Hong’an and Ya Ding’s grasp of the style of the original text from the perspectives of formal markers and non-formal markers and approach the differences between the translation styles of the two translations. In terms of formal markers, we will analyse and compare the texts from the perspective of register markers and lexical markers; in terms of non-formal markers, we will explain the texts from the perspective of the inner thoughts and feelings of the work and the spirituality of the writer. The third part will explore the stylistic translation devices of the two translations, citing examples from the standpoint of rhetorical devices, sentence structure and punctuation, and then summarise the translation views of both Guo Hong’an and Ya Ding in relation to the synthesis principles of style translation. Thereby, we expect to gain a further appreciation of the main idea and thoughts of Le Spleen de Paris, a better understanding of Ya Ding’s and Guo Hong’an’s views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===1 Liu Miqing’s theory of translation style===&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable”(刘宓庆 240). In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective ”(刘宓庆 249). The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
&lt;br /&gt;
In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. In the following discussion, we will refer to the principle of adaptability and the principle of synthesis. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’”(刘宓庆 261). The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
===2 Analysis and comparison of translation styles===&lt;br /&gt;
According to the form and content of the chapters, we have selected four prose or prose poems from Le Spleen de Paris as a foundation for a specific analysis and comparison of the translation styles of the two texts. ''L’Étranger'', a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” ''Chacun sa chimère'', a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general; ''In Le Chien et le flacon'', the language is emotionally powerful, mapping people's insensitivity and satirising society’s reversal of black and white by writing about dogs’ identical attitudes to both perfume and faeces, while the two translators’ translations present different styles of satire; ''Envirez-vous'' has three paragraphs with short sentences and the content is mainly emotional, yet the two translations are very different in form: Guo’s translation is similar to the original in form, translated into three short paragraphs, while the form of Ya Ding’s translation is closer to poetry, with eight stanzas in total.&lt;br /&gt;
&lt;br /&gt;
====2.1 Register Markers: “elegant” and “vulgar”====&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features”(刘宓庆 242). From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
1.1.1《异乡人》与《陌生人》&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s ''Inscription of the Monastery of the Huqiu Temple in Suzhou'' (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s ''Farewell to Xucai Li on the River'' (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”[1]. However, in ancient Chinese, the use of “陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel ''The Case of Pao Gong'' (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel ''The Mirror and the Flower'' (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”[2]. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
E.g. (a)&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
====2.2 Lexical Markers: conciseness and elongation====&lt;br /&gt;
&lt;br /&gt;
====2.3 Inner character of work and writer: sharpness and softness====&lt;br /&gt;
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&lt;br /&gt;
===3 Devices and principles of style translation===&lt;br /&gt;
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====2.1 Rhetorical devices====&lt;br /&gt;
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====2.2 Sentence structure====&lt;br /&gt;
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====2.3 Punctuation====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
[1] 北京大学中国语言学研究中心. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆. 新编当代翻译理论[M]. 北京: 中国对外翻译出版公司, 2005.&lt;br /&gt;
&lt;br /&gt;
=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
&lt;br /&gt;
==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
&lt;br /&gt;
So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
&lt;br /&gt;
There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
&lt;br /&gt;
In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
&lt;br /&gt;
In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
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[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
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[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
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[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
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[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
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[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
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[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
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[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
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[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
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[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Gender Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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=== Translation summary===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hong-Ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century. In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature. With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators. &lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hong-Ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand. &lt;br /&gt;
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&lt;br /&gt;
===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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====Fusion of Horizons====&lt;br /&gt;
====Fusion of Horizons in translation study====&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
====The history of translations of ''Lun Yu''====&lt;br /&gt;
====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
&lt;br /&gt;
=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
====Horizon of the original text====&lt;br /&gt;
====Horizon of the translator====&lt;br /&gt;
====Horizon of the target language culture====&lt;br /&gt;
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=== Contrastive Analysis===&lt;br /&gt;
====Description of key conceptual words====&lt;br /&gt;
====Different translations of key conceptual words====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=杨柳青 English Poetry Translation-A case study of=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===摘要===&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===Body===&lt;br /&gt;
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===Conclusion===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127950</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127950"/>
		<updated>2021-11-23T08:57:56Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Reference */&lt;/p&gt;
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&lt;div&gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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===Introduction===&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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===Literature Review===&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
　　In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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===''Legend of Zhen Huan'': A Case study===&lt;br /&gt;
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===Cultural Translation Strategies and Methods===&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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===Other Translation Methods===&lt;br /&gt;
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===Omission===&lt;br /&gt;
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===Addition===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
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With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
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In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
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Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
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===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2009). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
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===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation'' in 1981. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'' (1988), Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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=刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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===3.1 The application of communicative translation theory at lexical level===&lt;br /&gt;
Vocabulary is the foundation of sentences and the carrier of language application. The translation quality of vocabulary will directly affect the translation quality of sentences and even paragraphs. Therefore, under the guidance of communicative translation theory, this summary mainly analyzes the translation of words in The Pure Man and The Goat Family by adopting the strategies of translation modification and meaning extension on the basis of following the Chinese expression and diction habits and considering the understanding ability of Chinese readers.&lt;br /&gt;
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4.4.1 Transliteration&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
Eg.1 :그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
Translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Translation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
Eg. 2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
Eg. 3：쓰러진 동식이 걱정돼서라기보다, 아버지에 이어 어느 자식에게도 마음의 의지처를 갖지 못한 엄마를 향한 가여움때문에 나는 서둘러 친정으로 출발했다.&lt;br /&gt;
Translation：我赶紧往娘家奔去的原因与其说我担心晕倒的东植，不如说是对母亲的怜悯，因为父亲去世后，母亲没有了任何心灵依靠。&lt;br /&gt;
Translation：我赶紧往娘家奔去，与其说是因为担心晕倒的东植，不如说是因为心疼和担心母亲，毕竟父亲去世后，母亲没有了任何精神依靠。&lt;br /&gt;
In the original text ‘가여움’ is a noun, means poor, unfortunately, at the beginning of translation according to the original meaning of the translation, but not read through the sentence before and after will find the rest of the sentence, read incoherent, then consider when they use the techniques, the noun form transformed into verbs, this sentence will be more smooth, does not leave obscure sense for readers.&lt;br /&gt;
Eg. 4：그때, 그날의 아침을 떠올리는 건 막내딸뿐일까. 막내 여동생과 우연히 시내에서 만난 둘째 아들은 동생이 커피를 두모금쯤 마시고는 오빠, 난 왜 자꾸, 그러니까 껀떡하면 그때가 생각나는지 몰라, 그날 아침 말이야, 했을 때, 내색할 수는 없는 익숙한 지겨움을 느꼈다.&lt;br /&gt;
Translation：好像只有小女儿记得那天早晨发生的事情。二儿子在城里偶然遇见了小妹，便一起坐进了咖啡馆，小女儿刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Translation：好像只有小妹记得那天早晨发生的事情。我在城里偶然遇见了小妹，便一起坐进了咖啡馆，小妹刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Full text with the third perspective in telling the story of a family, at the beginning of the author in the translation, in the original &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot;, &amp;quot;둘 째 아 들&amp;quot; literal translation, the whole piece down not only give readers relationship chaotic feeling, experience and make the whole article, based on the theory of communicative translation, USES the change of translation, according to the relationship between the characters in the article, The noun &amp;quot;in the full text will 둘 째 아 들&amp;quot; changed into the first personal pronoun &amp;quot;I&amp;quot;, the &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot; translated into &amp;quot;kid sister&amp;quot;, and &amp;quot;큰 아 들&amp;quot;, &amp;quot;큰 딸&amp;quot;, &amp;quot;둘 째 딸&amp;quot; and &amp;quot;둘 째 아 들&amp;quot; respectively translated into &amp;quot;eldest brother&amp;quot;, &amp;quot;big sister&amp;quot;, &amp;quot;two sisters, strengthens the relationship of the characters in the article connected - At the same time, it also shortens the distance between the original text and the translated readers, enhances the affinity of the novel, and creates a story-oriented and readable reading atmosphere for readers.&lt;br /&gt;
4.1.2 Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
Eg.5 ：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
10: ①그러니까 엄 그러니까 엄 는 내 if 돈 얘기 wish to be added&lt;br /&gt;
것 taitei wish 렐.&lt;br /&gt;
②형 taitae 옆구 wish 를 툭 치며.&lt;br /&gt;
③까지는 살큼 익 罚 서 찬지름 치 서 찬지름 치 조선간 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 doctor Infoequalizer&lt;br /&gt;
原 文 : ① But mother seemed to have read my mind and gagged me first.&lt;br /&gt;
② The eldest brother poked me with his elbow.&lt;br /&gt;
③ When steamed seven or eight cooked, sprinkle with sesame oil and mix it well, which is better than those meat food.&lt;br /&gt;
&lt;br /&gt;
===3.2 The application of communicative translation theory at the sentence level===&lt;br /&gt;
&lt;br /&gt;
===3.3 The rhetorical application of communicative translation theory===&lt;br /&gt;
&lt;br /&gt;
===4 conclusion===&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)&amp;quot;our lives&amp;quot; 我们的一生&lt;br /&gt;
&lt;br /&gt;
(2)&amp;quot;This ignorance&amp;quot; 这种无知&lt;br /&gt;
&lt;br /&gt;
(3)&amp;quot;your and my ignorance&amp;quot; 你我的无知&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(4)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(5)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(6)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(7)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(8)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names, for example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(9)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019=&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
According to the Russian Constitution, every spring the Prime Minister of Russia is required to present to the State Duma an annual summary of the government's work, including a description of what Russia has accomplished in the past year in different areas , the challenges encountered, and the government's plans and goals set for the new year. The annual summary of the Russian government's work is one of the ways to know the development and future plans of Russia and the important document for studying Russia.This type of text belongs to the category of political essays. Therefore, it is important to master the translation strategies and methods of political essays.This paper takes the &amp;quot;Annual Work Summary of the Russian Government in 2019&amp;quot; as a study case, and the author uses the existing translation theories and methods as a guide to work on the translation, and summarizes some of his own experiences in the translation process, hoping that this paper can be helpful for the same type of translation research work.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Russia;Translation strategies and methods;Political essay;The Annual Summary of government's work&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The form of annual summary of the Russian government's work started in the Soviet period. Since the formation of the Soviet Union, at each congress of the High Council the head of the government would make a summary, which contained information about the situation of the accomplishment of government work and the problems encountered in various areas during the past year, as well as the plans and goals of the government for the new year. Such government summary has continued to the present day in Russia. &lt;br /&gt;
&lt;br /&gt;
The report on the work of the Russian government is not only the routine work of the prime minister, but also one of the ways for Russians and the whole world to understand the development and future of Russia. Thus, the annual government report can be described as an important document for the study of Russia. &lt;br /&gt;
&lt;br /&gt;
The government report belongs to the political essay style. In recent years, the political essay in Russian has been studied in increasing numbers. This mainly includes the following aspects: ①the features of this style; ②stylistics; ③translation strategies from Russian to foreign languages.&lt;br /&gt;
&lt;br /&gt;
Nowadays, quite a few native and foreign researchers are working on the research of this topic. For example, in the thesis &amp;quot; The Pronunciation Features of the political style of speech&amp;quot; (Veshchikova I. A.,1994) the author tells about the heterogeneity of literary language and one of the forms of its existence - the political style of speech and features of the organization of its phonetic varieties; And the article &amp;quot;Structural, semantic and functional features of references in the political style of Russian language&amp;quot; (Mizin O.A.,1973 ) was devoted to the characteristics of speech in publicist articles; also the book &amp;quot;Political style: new features&amp;quot; (E.M. Lazutkina,2008), and a textbook for students &amp;quot;Social-political style of speech&amp;quot; (Shvets A.V.,1984)and so on. Meanwhile, the results of Chinese researchers should be noted. For example, Wang Yingying(王莹莹), a graduate student of Heilongjiang University, wrote a paper in which the author summarized the features and ways of translation of phrases and expressions used in political essays. In addition, the textbook &amp;quot;Course of Translation from Russian to Chinese&amp;quot; (蔡毅，2009) edited by Cai Yi (蔡毅). In it, many example sentences come from the political essays. &lt;br /&gt;
&lt;br /&gt;
The following research methods are used in writing this paper:&lt;br /&gt;
1. Gather theoretical materials related to the selected topics;&lt;br /&gt;
2. Use relevant books on translation theories and underline specific sentences in the source text that use a particular translation theory;&lt;br /&gt;
3. Discover problems, solve problems, and generalize translation experiences.&lt;br /&gt;
&lt;br /&gt;
The paradigm in this paper -- “The Annual Summary of the Russian Government's Work of 2019”.&lt;br /&gt;
&lt;br /&gt;
The object of the paper -- the features of the political essays, translation theories and methods used during the translation of the source text and the experience gained during the translation.&lt;br /&gt;
&lt;br /&gt;
===Overview of Annual Summary of the Government's Work===&lt;br /&gt;
There are three types of government reports:State of the Union address, political speeches, and the report of the government on its performance. The first two began in the United States and the last in the Soviet Union. Since the formation of the Soviet Union, at each congress of the Soviet High Council, the head of the government would make a report that contained information about the situation of the government's work performance and the problems encountered in various areas over the past year, as well as the government's plans and goals for the new year. Such government reports continue to this day in Russia. Such a report on work of the government was learned in our country and has been used since 1954.&lt;br /&gt;
&lt;br /&gt;
====Definition of Annual Work Summary by Government====&lt;br /&gt;
According to the Russian constitution, every spring, the Russian Prime Minister must submit to the State Duma a report on the work of the government in order to detail the performance of various work in the past year, the goals for further development in various areas, as well as the opportunities and challenges faced in the areas like economy, politics, diplomacy, population, education, and so on. The report on the work of the Russian government for the year, as a rule, consists of three parts:&lt;br /&gt;
&lt;br /&gt;
① Overview of the main work of the government of the past year：&lt;br /&gt;
It is necessary to summarize the main work of the government for the previous year, achievements in various areas and the realization of major goals, and then to detail each specific achievement of the work.&lt;br /&gt;
&lt;br /&gt;
② Work tasks for this year：&lt;br /&gt;
Draw up the government's work plan in detail for this year and the main goals. At first, explain the main ideas and main tasks of the government's work this year, then divide the work into several categories and explain in detail the measures the government needs to take.&lt;br /&gt;
&lt;br /&gt;
③ The government's own planning:&lt;br /&gt;
Explain the construction plan for the government.&lt;br /&gt;
&lt;br /&gt;
====The features of political essays（Take Chinese government reports for example）====&lt;br /&gt;
1．At discourse level&lt;br /&gt;
&lt;br /&gt;
①Repeated references to the same things&lt;br /&gt;
&lt;br /&gt;
a. 2010 GWR:积极 45;大力31;全面30;着力16;切实17;有效9;充分8 发展 146，建设87，加强67 促进42&lt;br /&gt;
&lt;br /&gt;
b. 2009 vs 2010: 增强 19-18;加大23-56;加快44-56&lt;br /&gt;
&lt;br /&gt;
②Unnecessary modifiers&lt;br /&gt;
&lt;br /&gt;
a.更加周密地做好应对各种风险和挑战的准备。&lt;br /&gt;
Make even more thorough preparations to deal with risks and challenges of all kinds. &lt;br /&gt;
&lt;br /&gt;
b.无比优越 &lt;br /&gt;
incomparable superiority&lt;br /&gt;
&lt;br /&gt;
c.就事关当今世界、事关双边关系的一些全局性和长期性重大问题深入交换意见.&lt;br /&gt;
(we)have been engaged in in-depth exchange of views with them on important overarching and long-term issues concerning the world situation and bilateral relations.&lt;br /&gt;
d.我们几代、十几代甚至几十代人想的一件事，要做的一件事，是我们100年、1000年也不会动摇的一个方针。&lt;br /&gt;
This is what we must focus on and achieve-not just this generation but for generations to come. This is the policy that will not change in 100 years or 1,000 years.&lt;br /&gt;
&lt;br /&gt;
2.At sentence level&lt;br /&gt;
&lt;br /&gt;
①Long sentences&lt;br /&gt;
经过三十多年的改革开放，我们从“以阶级斗争为纲”到以经济建设为中心，全面推进社会主义现代化事业;从搞计划经济到推进各方面改革，建立起社会主义市场经济体制;从封闭状态和片面强调自力更生，到实行对外开放、发展国际合作；从以意识形态划线到主张各种社会制度和发展模式和谐生存，全方位发展对外关系，中国的变化可谓天翻地覆。&lt;br /&gt;
More than 30 years of reform and opening up has brought about earth-shaking changes in the country: from &amp;quot;taking class struggle as the key principle&amp;quot; to focusing on economic development and building socialist modernization on all fronts, from planned economy to socialist market economy through reform across the board, from a closed society and over emphasis on self-reliance to opening up and international cooperation, from emphasis on ideology in external relations to advocating harmonious co-existence of various social systems and development models and developing external relations in an all-round way.&lt;br /&gt;
&lt;br /&gt;
②Subjectless sentences&lt;br /&gt;
如果我们不能很好地处理同外部世界的关系，新世纪头20年由国际形势总体和平，大国关系相对平稳和新科技革命迅猛发展提供的发展机遇就可能丧失。&lt;br /&gt;
lf we fail to manage well our relations with the rest of the world, we might miss the development opportunities provided by the overall peace in the world relative stability in relations between major countries and fast progress in new science and technology revolution in the first 20 years of the new century.&lt;br /&gt;
&lt;br /&gt;
③Parallel structure&lt;br /&gt;
a.总之，中国人穷日子过得太久了，最大的战略意图就是使自己的日子一天比一天、一年比一年过得好些，希望地球上的人们日子也一天比一天、一年比一年过得好些除此别无他图。&lt;br /&gt;
In a word, the Chinese people have suffered long enough from poverty. Our greatest and only strategic intention is to live a better life, where every day is better than the previous one. We wish the same for all the people in the world.&lt;br /&gt;
&lt;br /&gt;
b.买的放心，吃的放心，用的放心。&lt;br /&gt;
Buy food and drugs with confidence and consume them with satisfaction&lt;br /&gt;
&lt;br /&gt;
3.At word level&lt;br /&gt;
&lt;br /&gt;
①Unnecessary words&lt;br /&gt;
a.经济增速陡然下滑&lt;br /&gt;
The pace of our economic growth suddenly slowed down&lt;br /&gt;
&lt;br /&gt;
b.进一步落实好扶残助残的各项政策&lt;br /&gt;
Further implement policies for assisting and supporting them&lt;br /&gt;
&lt;br /&gt;
c.注重共同利益、发展共同利益、维护共同利益 &lt;br /&gt;
We value, develop and protect common interests&lt;br /&gt;
&lt;br /&gt;
②Terms with national characteristics&lt;br /&gt;
&lt;br /&gt;
a.小康社会 &lt;br /&gt;
well -off/ well-to-do/affluent/comfortable&lt;br /&gt;
&lt;br /&gt;
b.加快全面建设小康社会进程&lt;br /&gt;
Pick up the pace of building a moderatly prosperous society in all respects&lt;br /&gt;
&lt;br /&gt;
c.要使中国人民能过上小康社会的生活&lt;br /&gt;
To enable the Chinese people to live a comfortable life A society of initial prosperity&lt;br /&gt;
&lt;br /&gt;
d.以求同存&lt;br /&gt;
seeking common ground while shelving differences&lt;br /&gt;
&lt;br /&gt;
e.坚持奉行互利共赢的开放战略&lt;br /&gt;
we follow the win-win strategy of opening up&lt;br /&gt;
&lt;br /&gt;
③Figurative expressions&lt;br /&gt;
&lt;br /&gt;
a.metaphorical expression&lt;br /&gt;
&lt;br /&gt;
龙头企业 pacesetting enterprise&lt;br /&gt;
法宝 key&lt;br /&gt;
&lt;br /&gt;
b.metonymical expression 转喻&lt;br /&gt;
&lt;br /&gt;
米袋子 grain supply&lt;br /&gt;
各国唯有同舟共济而不是同舟共“挤”，同舟共渡而不是同舟共“斗”，才有出路。&lt;br /&gt;
Countries should consider themselves passengers in the same boat and cross the river peacefully together instead of fighting one another and trying to push one another off the boat.&lt;br /&gt;
&lt;br /&gt;
====Source text introduction====&lt;br /&gt;
&lt;br /&gt;
On July 22, Russian Prime Minister Mikhail Mishustin made a speech in the State Duma reporting on the work of the government for 2019.Among the main topics of the speech of the head of the Cabinet of Ministers were the fight against coronavirus infection, support and development of healthcare, education, labor market and housing construction, support of business and backbone enterprises, ensuring macroeconomic and financial stability. Mishustin called the main goal of the government to improve the quality of life of every person in the country. The Prime Minister stressed that the updated Constitution of the Russian Federation increases the responsibility of all branches of power. According to the head of the government, the Russian economy could make a breakthrough, but this was prevented by the pandemic and oil prices.&lt;br /&gt;
&lt;br /&gt;
===Strategies and methods used in the translation process===&lt;br /&gt;
&lt;br /&gt;
The first requirement for translating works of political style is to faithfully and accurately express the political and ideological content of the original, so that the translation has the same influential function as the original. In this chapter, based on the aforementioned theories and strategies, the author analyzed several translation options using examples from the report.&lt;br /&gt;
&lt;br /&gt;
====At Lexical level====&lt;br /&gt;
=====Addition=====&lt;br /&gt;
=====Omission=====&lt;br /&gt;
=====Conversion=====&lt;br /&gt;
====At Syntactical level====&lt;br /&gt;
=====Linear Order Translation=====&lt;br /&gt;
=====Reverse Order Translation=====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=彭瑞雪 An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation Styles, Translation Strategies, ''Le spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits.  The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
&lt;br /&gt;
To begin with, the first part of the thesis will briefly introduce Liu Miqing’s theory of translation style. In the second part of the paper, according to form and content of text, a number of prose or prose poems will be selected from ''Le Spleen de Paris''. Through textual analysis, we will discuss Gou Hong’an and Ya Ding’s grasp of the style of the original text from the perspectives of formal markers and non-formal markers and approach the differences between the translation styles of the two translations. In terms of formal markers, we will analyse and compare the texts from the perspective of register markers and lexical markers; in terms of non-formal markers, we will explain the texts from the perspective of the inner thoughts and feelings of the work and the spirituality of the writer. The third part will explore the stylistic translation devices of the two translations, citing examples from the standpoint of rhetorical devices, sentence structure and punctuation, and then summarise the translation views of both Guo Hong’an and Ya Ding in relation to the synthesis principles of style translation. Thereby, we expect to gain a further appreciation of the main idea and thoughts of Le Spleen de Paris, a better understanding of Ya Ding’s and Guo Hong’an’s views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===1 Liu Miqing’s theory of translation style===&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable”(刘宓庆 240). In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective ”(刘宓庆 249). The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
&lt;br /&gt;
In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. In the following discussion, we will refer to the principle of adaptability and the principle of synthesis. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’”(刘宓庆 261). The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
===2 Analysis and comparison of translation styles===&lt;br /&gt;
According to the form and content of the chapters, we have selected four prose or prose poems from Le Spleen de Paris as a foundation for a specific analysis and comparison of the translation styles of the two texts. ''L’Étranger'', a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” ''Chacun sa chimère'', a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general; ''In Le Chien et le flacon'', the language is emotionally powerful, mapping people's insensitivity and satirising society’s reversal of black and white by writing about dogs’ identical attitudes to both perfume and faeces, while the two translators’ translations present different styles of satire; ''Envirez-vous'' has three paragraphs with short sentences and the content is mainly emotional, yet the two translations are very different in form: Guo’s translation is similar to the original in form, translated into three short paragraphs, while the form of Ya Ding’s translation is closer to poetry, with eight stanzas in total.&lt;br /&gt;
&lt;br /&gt;
====2.1 Register Markers: “elegant” and “vulgar”====&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features”(刘宓庆 242). From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
1.1.1《异乡人》与《陌生人》&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s ''Inscription of the Monastery of the Huqiu Temple in Suzhou'' (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s ''Farewell to Xucai Li on the River'' (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”[1]. However, in ancient Chinese, the use of “陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel ''The Case of Pao Gong'' (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel ''The Mirror and the Flower'' (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”[2]. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
E.g. (a)&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
====2.2 Lexical Markers: conciseness and elongation====&lt;br /&gt;
&lt;br /&gt;
====2.3 Inner character of work and writer: sharpness and softness====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===3 Devices and principles of style translation===&lt;br /&gt;
&lt;br /&gt;
====2.1 Rhetorical devices====&lt;br /&gt;
&lt;br /&gt;
====2.2 Sentence structure====&lt;br /&gt;
&lt;br /&gt;
====2.3 Punctuation====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1] 北京大学中国语言学研究中心. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆. 新编当代翻译理论[M]. 北京: 中国对外翻译出版公司, 2005.&lt;br /&gt;
&lt;br /&gt;
=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
[1]Nida E.A. ''Language and Culture: Contexts in translating''. Shanghai: Shanghai Foreign Language Education Press.2001. &lt;br /&gt;
[2]Nida, Eugene A.1964. Towardsa ''Science of Translating'', Leiden: E.J.Brill. &lt;br /&gt;
[3]Nida, Eugene A.&amp;amp;Charles R.Taber, 1969, ''The Theory and Practice of Translation'', Leiden: E.J.Brill&lt;br /&gt;
[4]鲁迅.鲁迅全集(第一卷)[M].北京:人民文学出版社,1982.&lt;br /&gt;
[5]谭载喜．新编奈达论翻译[M]．北京：中国对外翻译出版公司，1999.&lt;br /&gt;
[6]杨坚定，孙鸿仁．鲁迅小说英译版本综述[J]．鲁迅研究月刊，2021(4)．&lt;br /&gt;
[7]伊塞尔．本文中的读者［Ａ］．二十世纪西方美学名著选（下）［Ｃ］．上海：复旦大学出版社,1998.&lt;br /&gt;
[8]杨宪益,戴乃迭译.鲁迅选集英文版(一)[M].北京:外文出版社, 1980.&lt;br /&gt;
[9]https://baike.baidu.com/item/%E5%8A%9F%E8%83%BD%E5%AF%B9%E7%AD%89%E7%90%86%E8%AE%BA/3373397?fr=aladdin&lt;br /&gt;
[10]https://www.zhihu.com/question/29965932&lt;br /&gt;
&lt;br /&gt;
=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Gender Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
&lt;br /&gt;
=== Text background===&lt;br /&gt;
&lt;br /&gt;
===Research Purpose and Significance===&lt;br /&gt;
&lt;br /&gt;
=== Translation theory and case analysis===&lt;br /&gt;
&lt;br /&gt;
=== Translation skills, methods and case studies===&lt;br /&gt;
&lt;br /&gt;
=== Translation summary===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hong-Ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century. In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature. With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators. &lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hong-Ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
&lt;br /&gt;
====Fusion of Horizons====&lt;br /&gt;
====Fusion of Horizons in translation study====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
====The history of translations of ''Lun Yu''====&lt;br /&gt;
====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
&lt;br /&gt;
=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
====Horizon of the original text====&lt;br /&gt;
====Horizon of the translator====&lt;br /&gt;
====Horizon of the target language culture====&lt;br /&gt;
&lt;br /&gt;
=== Contrastive Analysis===&lt;br /&gt;
====Description of key conceptual words====&lt;br /&gt;
====Different translations of key conceptual words====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=杨柳青 English Poetry Translation-A case study of=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
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===Key words===&lt;br /&gt;
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===摘要===&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Body===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127949</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127949"/>
		<updated>2021-11-23T08:46:19Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Conclusion */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_1]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
　　In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
===''Legend of Zhen Huan'': A Case study===&lt;br /&gt;
&lt;br /&gt;
===Cultural Translation Strategies and Methods===&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
&lt;br /&gt;
===Translation Methods under Domesticating Strategy===&lt;br /&gt;
&lt;br /&gt;
===Other Translation Methods===&lt;br /&gt;
&lt;br /&gt;
===Omission===&lt;br /&gt;
&lt;br /&gt;
===Addition===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2009). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
&lt;br /&gt;
In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
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Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation'' in 1981. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'' (1988), Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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=刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
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=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
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===3.1 The application of communicative translation theory at lexical level===&lt;br /&gt;
Vocabulary is the foundation of sentences and the carrier of language application. The translation quality of vocabulary will directly affect the translation quality of sentences and even paragraphs. Therefore, under the guidance of communicative translation theory, this summary mainly analyzes the translation of words in The Pure Man and The Goat Family by adopting the strategies of translation modification and meaning extension on the basis of following the Chinese expression and diction habits and considering the understanding ability of Chinese readers.&lt;br /&gt;
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4.4.1 Transliteration&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
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The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
Eg.1 :그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
Translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Translation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
Eg. 2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
Eg. 3：쓰러진 동식이 걱정돼서라기보다, 아버지에 이어 어느 자식에게도 마음의 의지처를 갖지 못한 엄마를 향한 가여움때문에 나는 서둘러 친정으로 출발했다.&lt;br /&gt;
Translation：我赶紧往娘家奔去的原因与其说我担心晕倒的东植，不如说是对母亲的怜悯，因为父亲去世后，母亲没有了任何心灵依靠。&lt;br /&gt;
Translation：我赶紧往娘家奔去，与其说是因为担心晕倒的东植，不如说是因为心疼和担心母亲，毕竟父亲去世后，母亲没有了任何精神依靠。&lt;br /&gt;
In the original text ‘가여움’ is a noun, means poor, unfortunately, at the beginning of translation according to the original meaning of the translation, but not read through the sentence before and after will find the rest of the sentence, read incoherent, then consider when they use the techniques, the noun form transformed into verbs, this sentence will be more smooth, does not leave obscure sense for readers.&lt;br /&gt;
Eg. 4：그때, 그날의 아침을 떠올리는 건 막내딸뿐일까. 막내 여동생과 우연히 시내에서 만난 둘째 아들은 동생이 커피를 두모금쯤 마시고는 오빠, 난 왜 자꾸, 그러니까 껀떡하면 그때가 생각나는지 몰라, 그날 아침 말이야, 했을 때, 내색할 수는 없는 익숙한 지겨움을 느꼈다.&lt;br /&gt;
Translation：好像只有小女儿记得那天早晨发生的事情。二儿子在城里偶然遇见了小妹，便一起坐进了咖啡馆，小女儿刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Translation：好像只有小妹记得那天早晨发生的事情。我在城里偶然遇见了小妹，便一起坐进了咖啡馆，小妹刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Full text with the third perspective in telling the story of a family, at the beginning of the author in the translation, in the original &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot;, &amp;quot;둘 째 아 들&amp;quot; literal translation, the whole piece down not only give readers relationship chaotic feeling, experience and make the whole article, based on the theory of communicative translation, USES the change of translation, according to the relationship between the characters in the article, The noun &amp;quot;in the full text will 둘 째 아 들&amp;quot; changed into the first personal pronoun &amp;quot;I&amp;quot;, the &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot; translated into &amp;quot;kid sister&amp;quot;, and &amp;quot;큰 아 들&amp;quot;, &amp;quot;큰 딸&amp;quot;, &amp;quot;둘 째 딸&amp;quot; and &amp;quot;둘 째 아 들&amp;quot; respectively translated into &amp;quot;eldest brother&amp;quot;, &amp;quot;big sister&amp;quot;, &amp;quot;two sisters, strengthens the relationship of the characters in the article connected - At the same time, it also shortens the distance between the original text and the translated readers, enhances the affinity of the novel, and creates a story-oriented and readable reading atmosphere for readers.&lt;br /&gt;
4.1.2 Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
Eg.5 ：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
10: ①그러니까 엄 그러니까 엄 는 내 if 돈 얘기 wish to be added&lt;br /&gt;
것 taitei wish 렐.&lt;br /&gt;
②형 taitae 옆구 wish 를 툭 치며.&lt;br /&gt;
③까지는 살큼 익 罚 서 찬지름 치 서 찬지름 치 조선간 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 doctor Infoequalizer&lt;br /&gt;
原 文 : ① But mother seemed to have read my mind and gagged me first.&lt;br /&gt;
② The eldest brother poked me with his elbow.&lt;br /&gt;
③ When steamed seven or eight cooked, sprinkle with sesame oil and mix it well, which is better than those meat food.&lt;br /&gt;
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===3.2 The application of communicative translation theory at the sentence level===&lt;br /&gt;
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===3.3 The rhetorical application of communicative translation theory===&lt;br /&gt;
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===4 conclusion===&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
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'''Methodology and Structure'''&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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===Literature Review===&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)&amp;quot;our lives&amp;quot; 我们的一生&lt;br /&gt;
&lt;br /&gt;
(2)&amp;quot;This ignorance&amp;quot; 这种无知&lt;br /&gt;
&lt;br /&gt;
(3)&amp;quot;your and my ignorance&amp;quot; 你我的无知&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(4)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(5)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(6)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(7)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(8)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names, for example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(9)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019=&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
According to the Russian Constitution, every spring the Prime Minister of Russia is required to present to the State Duma an annual summary of the government's work, including a description of what Russia has accomplished in the past year in different areas , the challenges encountered, and the government's plans and goals set for the new year. The annual summary of the Russian government's work is one of the ways to know the development and future plans of Russia and the important document for studying Russia.This type of text belongs to the category of political essays. Therefore, it is important to master the translation strategies and methods of political essays.This paper takes the &amp;quot;Annual Work Summary of the Russian Government in 2019&amp;quot; as a study case, and the author uses the existing translation theories and methods as a guide to work on the translation, and summarizes some of his own experiences in the translation process, hoping that this paper can be helpful for the same type of translation research work.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Russia;Translation strategies and methods;Political essay;The Annual Summary of government's work&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The form of annual summary of the Russian government's work started in the Soviet period. Since the formation of the Soviet Union, at each congress of the High Council the head of the government would make a summary, which contained information about the situation of the accomplishment of government work and the problems encountered in various areas during the past year, as well as the plans and goals of the government for the new year. Such government summary has continued to the present day in Russia. &lt;br /&gt;
&lt;br /&gt;
The report on the work of the Russian government is not only the routine work of the prime minister, but also one of the ways for Russians and the whole world to understand the development and future of Russia. Thus, the annual government report can be described as an important document for the study of Russia. &lt;br /&gt;
&lt;br /&gt;
The government report belongs to the political essay style. In recent years, the political essay in Russian has been studied in increasing numbers. This mainly includes the following aspects: ①the features of this style; ②stylistics; ③translation strategies from Russian to foreign languages.&lt;br /&gt;
&lt;br /&gt;
Nowadays, quite a few native and foreign researchers are working on the research of this topic. For example, in the thesis &amp;quot; The Pronunciation Features of the political style of speech&amp;quot; (Veshchikova I. A.,1994) the author tells about the heterogeneity of literary language and one of the forms of its existence - the political style of speech and features of the organization of its phonetic varieties; And the article &amp;quot;Structural, semantic and functional features of references in the political style of Russian language&amp;quot; (Mizin O.A.,1973 ) was devoted to the characteristics of speech in publicist articles; also the book &amp;quot;Political style: new features&amp;quot; (E.M. Lazutkina,2008), and a textbook for students &amp;quot;Social-political style of speech&amp;quot; (Shvets A.V.,1984)and so on. Meanwhile, the results of Chinese researchers should be noted. For example, Wang Yingying(王莹莹), a graduate student of Heilongjiang University, wrote a paper in which the author summarized the features and ways of translation of phrases and expressions used in political essays. In addition, the textbook &amp;quot;Course of Translation from Russian to Chinese&amp;quot; (蔡毅，2009) edited by Cai Yi (蔡毅). In it, many example sentences come from the political essays. &lt;br /&gt;
&lt;br /&gt;
The following research methods are used in writing this paper:&lt;br /&gt;
1. Gather theoretical materials related to the selected topics;&lt;br /&gt;
2. Use relevant books on translation theories and underline specific sentences in the source text that use a particular translation theory;&lt;br /&gt;
3. Discover problems, solve problems, and generalize translation experiences.&lt;br /&gt;
&lt;br /&gt;
The paradigm in this paper -- “The Annual Summary of the Russian Government's Work of 2019”.&lt;br /&gt;
&lt;br /&gt;
The object of the paper -- the features of the political essays, translation theories and methods used during the translation of the source text and the experience gained during the translation.&lt;br /&gt;
&lt;br /&gt;
===Overview of Annual Summary of the Government's Work===&lt;br /&gt;
There are three types of government reports:State of the Union address, political speeches, and the report of the government on its performance. The first two began in the United States and the last in the Soviet Union. Since the formation of the Soviet Union, at each congress of the Soviet High Council, the head of the government would make a report that contained information about the situation of the government's work performance and the problems encountered in various areas over the past year, as well as the government's plans and goals for the new year. Such government reports continue to this day in Russia. Such a report on work of the government was learned in our country and has been used since 1954.&lt;br /&gt;
&lt;br /&gt;
====Definition of Annual Work Summary by Government====&lt;br /&gt;
According to the Russian constitution, every spring, the Russian Prime Minister must submit to the State Duma a report on the work of the government in order to detail the performance of various work in the past year, the goals for further development in various areas, as well as the opportunities and challenges faced in the areas like economy, politics, diplomacy, population, education, and so on. The report on the work of the Russian government for the year, as a rule, consists of three parts:&lt;br /&gt;
&lt;br /&gt;
① Overview of the main work of the government of the past year：&lt;br /&gt;
It is necessary to summarize the main work of the government for the previous year, achievements in various areas and the realization of major goals, and then to detail each specific achievement of the work.&lt;br /&gt;
&lt;br /&gt;
② Work tasks for this year：&lt;br /&gt;
Draw up the government's work plan in detail for this year and the main goals. At first, explain the main ideas and main tasks of the government's work this year, then divide the work into several categories and explain in detail the measures the government needs to take.&lt;br /&gt;
&lt;br /&gt;
③ The government's own planning:&lt;br /&gt;
Explain the construction plan for the government.&lt;br /&gt;
&lt;br /&gt;
====The features of political essays（Take Chinese government reports for example）====&lt;br /&gt;
1．At discourse level&lt;br /&gt;
&lt;br /&gt;
①Repeated references to the same things&lt;br /&gt;
&lt;br /&gt;
a. 2010 GWR:积极 45;大力31;全面30;着力16;切实17;有效9;充分8 发展 146，建设87，加强67 促进42&lt;br /&gt;
&lt;br /&gt;
b. 2009 vs 2010: 增强 19-18;加大23-56;加快44-56&lt;br /&gt;
&lt;br /&gt;
②Unnecessary modifiers&lt;br /&gt;
&lt;br /&gt;
a.更加周密地做好应对各种风险和挑战的准备。&lt;br /&gt;
Make even more thorough preparations to deal with risks and challenges of all kinds. &lt;br /&gt;
&lt;br /&gt;
b.无比优越 &lt;br /&gt;
incomparable superiority&lt;br /&gt;
&lt;br /&gt;
c.就事关当今世界、事关双边关系的一些全局性和长期性重大问题深入交换意见.&lt;br /&gt;
(we)have been engaged in in-depth exchange of views with them on important overarching and long-term issues concerning the world situation and bilateral relations.&lt;br /&gt;
d.我们几代、十几代甚至几十代人想的一件事，要做的一件事，是我们100年、1000年也不会动摇的一个方针。&lt;br /&gt;
This is what we must focus on and achieve-not just this generation but for generations to come. This is the policy that will not change in 100 years or 1,000 years.&lt;br /&gt;
&lt;br /&gt;
2.At sentence level&lt;br /&gt;
&lt;br /&gt;
①Long sentences&lt;br /&gt;
经过三十多年的改革开放，我们从“以阶级斗争为纲”到以经济建设为中心，全面推进社会主义现代化事业;从搞计划经济到推进各方面改革，建立起社会主义市场经济体制;从封闭状态和片面强调自力更生，到实行对外开放、发展国际合作；从以意识形态划线到主张各种社会制度和发展模式和谐生存，全方位发展对外关系，中国的变化可谓天翻地覆。&lt;br /&gt;
More than 30 years of reform and opening up has brought about earth-shaking changes in the country: from &amp;quot;taking class struggle as the key principle&amp;quot; to focusing on economic development and building socialist modernization on all fronts, from planned economy to socialist market economy through reform across the board, from a closed society and over emphasis on self-reliance to opening up and international cooperation, from emphasis on ideology in external relations to advocating harmonious co-existence of various social systems and development models and developing external relations in an all-round way.&lt;br /&gt;
&lt;br /&gt;
②Subjectless sentences&lt;br /&gt;
如果我们不能很好地处理同外部世界的关系，新世纪头20年由国际形势总体和平，大国关系相对平稳和新科技革命迅猛发展提供的发展机遇就可能丧失。&lt;br /&gt;
lf we fail to manage well our relations with the rest of the world, we might miss the development opportunities provided by the overall peace in the world relative stability in relations between major countries and fast progress in new science and technology revolution in the first 20 years of the new century.&lt;br /&gt;
&lt;br /&gt;
③Parallel structure&lt;br /&gt;
a.总之，中国人穷日子过得太久了，最大的战略意图就是使自己的日子一天比一天、一年比一年过得好些，希望地球上的人们日子也一天比一天、一年比一年过得好些除此别无他图。&lt;br /&gt;
In a word, the Chinese people have suffered long enough from poverty. Our greatest and only strategic intention is to live a better life, where every day is better than the previous one. We wish the same for all the people in the world.&lt;br /&gt;
&lt;br /&gt;
b.买的放心，吃的放心，用的放心。&lt;br /&gt;
Buy food and drugs with confidence and consume them with satisfaction&lt;br /&gt;
&lt;br /&gt;
3.At word level&lt;br /&gt;
&lt;br /&gt;
①Unnecessary words&lt;br /&gt;
a.经济增速陡然下滑&lt;br /&gt;
The pace of our economic growth suddenly slowed down&lt;br /&gt;
&lt;br /&gt;
b.进一步落实好扶残助残的各项政策&lt;br /&gt;
Further implement policies for assisting and supporting them&lt;br /&gt;
&lt;br /&gt;
c.注重共同利益、发展共同利益、维护共同利益 &lt;br /&gt;
We value, develop and protect common interests&lt;br /&gt;
&lt;br /&gt;
②Terms with national characteristics&lt;br /&gt;
&lt;br /&gt;
a.小康社会 &lt;br /&gt;
well -off/ well-to-do/affluent/comfortable&lt;br /&gt;
&lt;br /&gt;
b.加快全面建设小康社会进程&lt;br /&gt;
Pick up the pace of building a moderatly prosperous society in all respects&lt;br /&gt;
&lt;br /&gt;
c.要使中国人民能过上小康社会的生活&lt;br /&gt;
To enable the Chinese people to live a comfortable life A society of initial prosperity&lt;br /&gt;
&lt;br /&gt;
d.以求同存&lt;br /&gt;
seeking common ground while shelving differences&lt;br /&gt;
&lt;br /&gt;
e.坚持奉行互利共赢的开放战略&lt;br /&gt;
we follow the win-win strategy of opening up&lt;br /&gt;
&lt;br /&gt;
③Figurative expressions&lt;br /&gt;
&lt;br /&gt;
a.metaphorical expression&lt;br /&gt;
&lt;br /&gt;
龙头企业 pacesetting enterprise&lt;br /&gt;
法宝 key&lt;br /&gt;
&lt;br /&gt;
b.metonymical expression 转喻&lt;br /&gt;
&lt;br /&gt;
米袋子 grain supply&lt;br /&gt;
各国唯有同舟共济而不是同舟共“挤”，同舟共渡而不是同舟共“斗”，才有出路。&lt;br /&gt;
Countries should consider themselves passengers in the same boat and cross the river peacefully together instead of fighting one another and trying to push one another off the boat.&lt;br /&gt;
&lt;br /&gt;
====Source text introduction====&lt;br /&gt;
&lt;br /&gt;
On July 22, Russian Prime Minister Mikhail Mishustin made a speech in the State Duma reporting on the work of the government for 2019.Among the main topics of the speech of the head of the Cabinet of Ministers were the fight against coronavirus infection, support and development of healthcare, education, labor market and housing construction, support of business and backbone enterprises, ensuring macroeconomic and financial stability. Mishustin called the main goal of the government to improve the quality of life of every person in the country. The Prime Minister stressed that the updated Constitution of the Russian Federation increases the responsibility of all branches of power. According to the head of the government, the Russian economy could make a breakthrough, but this was prevented by the pandemic and oil prices.&lt;br /&gt;
&lt;br /&gt;
===Strategies and methods used in the translation process===&lt;br /&gt;
&lt;br /&gt;
The first requirement for translating works of political style is to faithfully and accurately express the political and ideological content of the original, so that the translation has the same influential function as the original. In this chapter, based on the aforementioned theories and strategies, the author analyzed several translation options using examples from the report.&lt;br /&gt;
&lt;br /&gt;
====At Lexical level====&lt;br /&gt;
=====Addition=====&lt;br /&gt;
=====Omission=====&lt;br /&gt;
=====Conversion=====&lt;br /&gt;
====At Syntactical level====&lt;br /&gt;
=====Linear Order Translation=====&lt;br /&gt;
=====Reverse Order Translation=====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=彭瑞雪 An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation Styles, Translation Strategies, ''Le spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits.  The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
&lt;br /&gt;
To begin with, the first part of the thesis will briefly introduce Liu Miqing’s theory of translation style. In the second part of the paper, according to form and content of text, a number of prose or prose poems will be selected from ''Le Spleen de Paris''. Through textual analysis, we will discuss Gou Hong’an and Ya Ding’s grasp of the style of the original text from the perspectives of formal markers and non-formal markers and approach the differences between the translation styles of the two translations. In terms of formal markers, we will analyse and compare the texts from the perspective of register markers and lexical markers; in terms of non-formal markers, we will explain the texts from the perspective of the inner thoughts and feelings of the work and the spirituality of the writer. The third part will explore the stylistic translation devices of the two translations, citing examples from the standpoint of rhetorical devices, sentence structure and punctuation, and then summarise the translation views of both Guo Hong’an and Ya Ding in relation to the synthesis principles of style translation. Thereby, we expect to gain a further appreciation of the main idea and thoughts of Le Spleen de Paris, a better understanding of Ya Ding’s and Guo Hong’an’s views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===1 Liu Miqing’s theory of translation style===&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable”(刘宓庆 240). In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective ”(刘宓庆 249). The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
&lt;br /&gt;
In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. In the following discussion, we will refer to the principle of adaptability and the principle of synthesis. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’”(刘宓庆 261). The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
===2 Analysis and comparison of translation styles===&lt;br /&gt;
According to the form and content of the chapters, we have selected four prose or prose poems from Le Spleen de Paris as a foundation for a specific analysis and comparison of the translation styles of the two texts. ''L’Étranger'', a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” ''Chacun sa chimère'', a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general; ''In Le Chien et le flacon'', the language is emotionally powerful, mapping people's insensitivity and satirising society’s reversal of black and white by writing about dogs’ identical attitudes to both perfume and faeces, while the two translators’ translations present different styles of satire; ''Envirez-vous'' has three paragraphs with short sentences and the content is mainly emotional, yet the two translations are very different in form: Guo’s translation is similar to the original in form, translated into three short paragraphs, while the form of Ya Ding’s translation is closer to poetry, with eight stanzas in total.&lt;br /&gt;
&lt;br /&gt;
====2.1 Register Markers: “elegant” and “vulgar”====&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features”(刘宓庆 242). From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
1.1.1《异乡人》与《陌生人》&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s ''Inscription of the Monastery of the Huqiu Temple in Suzhou'' (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s ''Farewell to Xucai Li on the River'' (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”[1]. However, in ancient Chinese, the use of “陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel ''The Case of Pao Gong'' (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel ''The Mirror and the Flower'' (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”[2]. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
E.g. (a)&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
====2.2 Lexical Markers: conciseness and elongation====&lt;br /&gt;
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====2.3 Inner character of work and writer: sharpness and softness====&lt;br /&gt;
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&lt;br /&gt;
===3 Devices and principles of style translation===&lt;br /&gt;
&lt;br /&gt;
====2.1 Rhetorical devices====&lt;br /&gt;
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====2.2 Sentence structure====&lt;br /&gt;
&lt;br /&gt;
====2.3 Punctuation====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1] 北京大学中国语言学研究中心. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆. 新编当代翻译理论[M]. 北京: 中国对外翻译出版公司, 2005.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
&lt;br /&gt;
The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
&lt;br /&gt;
On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspirations for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Gender Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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=== Translation summary===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hong-Ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century. In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature. With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators. &lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hong-Ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand. &lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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====Fusion of Horizons====&lt;br /&gt;
====Fusion of Horizons in translation study====&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
====The history of translations of ''Lun Yu''====&lt;br /&gt;
====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
====Horizon of the original text====&lt;br /&gt;
====Horizon of the translator====&lt;br /&gt;
====Horizon of the target language culture====&lt;br /&gt;
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=== Contrastive Analysis===&lt;br /&gt;
====Description of key conceptual words====&lt;br /&gt;
====Different translations of key conceptual words====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=杨柳青 English Poetry Translation-A case study of=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words===&lt;br /&gt;
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===摘要===&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===Body===&lt;br /&gt;
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===Conclusion===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127948</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127948"/>
		<updated>2021-11-23T08:45:44Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
　　In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
&lt;br /&gt;
In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
&lt;br /&gt;
In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
&lt;br /&gt;
In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
&lt;br /&gt;
In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
&lt;br /&gt;
However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
===''Legend of Zhen Huan'': A Case study===&lt;br /&gt;
&lt;br /&gt;
===Cultural Translation Strategies and Methods===&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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===Other Translation Methods===&lt;br /&gt;
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===Omission===&lt;br /&gt;
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===Addition===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
&lt;br /&gt;
However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2009). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
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====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
&lt;br /&gt;
According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
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In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
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====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation'' in 1981. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
&lt;br /&gt;
In ''About Translation'' (1988), Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
&lt;br /&gt;
Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
&lt;br /&gt;
Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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=刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
&lt;br /&gt;
On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
&lt;br /&gt;
===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
&lt;br /&gt;
The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 The application of communicative translation theory at lexical level===&lt;br /&gt;
Vocabulary is the foundation of sentences and the carrier of language application. The translation quality of vocabulary will directly affect the translation quality of sentences and even paragraphs. Therefore, under the guidance of communicative translation theory, this summary mainly analyzes the translation of words in The Pure Man and The Goat Family by adopting the strategies of translation modification and meaning extension on the basis of following the Chinese expression and diction habits and considering the understanding ability of Chinese readers.&lt;br /&gt;
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4.4.1 Transliteration&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
Eg.1 :그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
Translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Translation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
Eg. 2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
Eg. 3：쓰러진 동식이 걱정돼서라기보다, 아버지에 이어 어느 자식에게도 마음의 의지처를 갖지 못한 엄마를 향한 가여움때문에 나는 서둘러 친정으로 출발했다.&lt;br /&gt;
Translation：我赶紧往娘家奔去的原因与其说我担心晕倒的东植，不如说是对母亲的怜悯，因为父亲去世后，母亲没有了任何心灵依靠。&lt;br /&gt;
Translation：我赶紧往娘家奔去，与其说是因为担心晕倒的东植，不如说是因为心疼和担心母亲，毕竟父亲去世后，母亲没有了任何精神依靠。&lt;br /&gt;
In the original text ‘가여움’ is a noun, means poor, unfortunately, at the beginning of translation according to the original meaning of the translation, but not read through the sentence before and after will find the rest of the sentence, read incoherent, then consider when they use the techniques, the noun form transformed into verbs, this sentence will be more smooth, does not leave obscure sense for readers.&lt;br /&gt;
Eg. 4：그때, 그날의 아침을 떠올리는 건 막내딸뿐일까. 막내 여동생과 우연히 시내에서 만난 둘째 아들은 동생이 커피를 두모금쯤 마시고는 오빠, 난 왜 자꾸, 그러니까 껀떡하면 그때가 생각나는지 몰라, 그날 아침 말이야, 했을 때, 내색할 수는 없는 익숙한 지겨움을 느꼈다.&lt;br /&gt;
Translation：好像只有小女儿记得那天早晨发生的事情。二儿子在城里偶然遇见了小妹，便一起坐进了咖啡馆，小女儿刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Translation：好像只有小妹记得那天早晨发生的事情。我在城里偶然遇见了小妹，便一起坐进了咖啡馆，小妹刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Full text with the third perspective in telling the story of a family, at the beginning of the author in the translation, in the original &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot;, &amp;quot;둘 째 아 들&amp;quot; literal translation, the whole piece down not only give readers relationship chaotic feeling, experience and make the whole article, based on the theory of communicative translation, USES the change of translation, according to the relationship between the characters in the article, The noun &amp;quot;in the full text will 둘 째 아 들&amp;quot; changed into the first personal pronoun &amp;quot;I&amp;quot;, the &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot; translated into &amp;quot;kid sister&amp;quot;, and &amp;quot;큰 아 들&amp;quot;, &amp;quot;큰 딸&amp;quot;, &amp;quot;둘 째 딸&amp;quot; and &amp;quot;둘 째 아 들&amp;quot; respectively translated into &amp;quot;eldest brother&amp;quot;, &amp;quot;big sister&amp;quot;, &amp;quot;two sisters, strengthens the relationship of the characters in the article connected - At the same time, it also shortens the distance between the original text and the translated readers, enhances the affinity of the novel, and creates a story-oriented and readable reading atmosphere for readers.&lt;br /&gt;
4.1.2 Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
Eg.5 ：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
10: ①그러니까 엄 그러니까 엄 는 내 if 돈 얘기 wish to be added&lt;br /&gt;
것 taitei wish 렐.&lt;br /&gt;
②형 taitae 옆구 wish 를 툭 치며.&lt;br /&gt;
③까지는 살큼 익 罚 서 찬지름 치 서 찬지름 치 조선간 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 doctor Infoequalizer&lt;br /&gt;
原 文 : ① But mother seemed to have read my mind and gagged me first.&lt;br /&gt;
② The eldest brother poked me with his elbow.&lt;br /&gt;
③ When steamed seven or eight cooked, sprinkle with sesame oil and mix it well, which is better than those meat food.&lt;br /&gt;
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===3.2 The application of communicative translation theory at the sentence level===&lt;br /&gt;
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===3.3 The rhetorical application of communicative translation theory===&lt;br /&gt;
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===4 conclusion===&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
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'''Methodology and Structure'''&lt;br /&gt;
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This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
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===Literature Review===&lt;br /&gt;
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This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
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With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
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First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
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Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
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Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
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===Overview of English Prose===&lt;br /&gt;
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Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
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'''Distinctive Features of English Prose'''&lt;br /&gt;
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As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
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The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
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Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
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Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
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'''Linguistic Features of English Prose'''&lt;br /&gt;
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Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
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First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
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Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
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Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
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'''Principles of English Prose Translation'''&lt;br /&gt;
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The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
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Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
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Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
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Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
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The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
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Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
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This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
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(1)&amp;quot;our lives&amp;quot; 我们的一生&lt;br /&gt;
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(2)&amp;quot;This ignorance&amp;quot; 这种无知&lt;br /&gt;
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(3)&amp;quot;your and my ignorance&amp;quot; 你我的无知&lt;br /&gt;
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The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
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=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(4)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(5)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(6)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(7)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(8)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names, for example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(9)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019=&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
According to the Russian Constitution, every spring the Prime Minister of Russia is required to present to the State Duma an annual summary of the government's work, including a description of what Russia has accomplished in the past year in different areas , the challenges encountered, and the government's plans and goals set for the new year. The annual summary of the Russian government's work is one of the ways to know the development and future plans of Russia and the important document for studying Russia.This type of text belongs to the category of political essays. Therefore, it is important to master the translation strategies and methods of political essays.This paper takes the &amp;quot;Annual Work Summary of the Russian Government in 2019&amp;quot; as a study case, and the author uses the existing translation theories and methods as a guide to work on the translation, and summarizes some of his own experiences in the translation process, hoping that this paper can be helpful for the same type of translation research work.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Russia;Translation strategies and methods;Political essay;The Annual Summary of government's work&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The form of annual summary of the Russian government's work started in the Soviet period. Since the formation of the Soviet Union, at each congress of the High Council the head of the government would make a summary, which contained information about the situation of the accomplishment of government work and the problems encountered in various areas during the past year, as well as the plans and goals of the government for the new year. Such government summary has continued to the present day in Russia. &lt;br /&gt;
&lt;br /&gt;
The report on the work of the Russian government is not only the routine work of the prime minister, but also one of the ways for Russians and the whole world to understand the development and future of Russia. Thus, the annual government report can be described as an important document for the study of Russia. &lt;br /&gt;
&lt;br /&gt;
The government report belongs to the political essay style. In recent years, the political essay in Russian has been studied in increasing numbers. This mainly includes the following aspects: ①the features of this style; ②stylistics; ③translation strategies from Russian to foreign languages.&lt;br /&gt;
&lt;br /&gt;
Nowadays, quite a few native and foreign researchers are working on the research of this topic. For example, in the thesis &amp;quot; The Pronunciation Features of the political style of speech&amp;quot; (Veshchikova I. A.,1994) the author tells about the heterogeneity of literary language and one of the forms of its existence - the political style of speech and features of the organization of its phonetic varieties; And the article &amp;quot;Structural, semantic and functional features of references in the political style of Russian language&amp;quot; (Mizin O.A.,1973 ) was devoted to the characteristics of speech in publicist articles; also the book &amp;quot;Political style: new features&amp;quot; (E.M. Lazutkina,2008), and a textbook for students &amp;quot;Social-political style of speech&amp;quot; (Shvets A.V.,1984)and so on. Meanwhile, the results of Chinese researchers should be noted. For example, Wang Yingying(王莹莹), a graduate student of Heilongjiang University, wrote a paper in which the author summarized the features and ways of translation of phrases and expressions used in political essays. In addition, the textbook &amp;quot;Course of Translation from Russian to Chinese&amp;quot; (蔡毅，2009) edited by Cai Yi (蔡毅). In it, many example sentences come from the political essays. &lt;br /&gt;
&lt;br /&gt;
The following research methods are used in writing this paper:&lt;br /&gt;
1. Gather theoretical materials related to the selected topics;&lt;br /&gt;
2. Use relevant books on translation theories and underline specific sentences in the source text that use a particular translation theory;&lt;br /&gt;
3. Discover problems, solve problems, and generalize translation experiences.&lt;br /&gt;
&lt;br /&gt;
The paradigm in this paper -- “The Annual Summary of the Russian Government's Work of 2019”.&lt;br /&gt;
&lt;br /&gt;
The object of the paper -- the features of the political essays, translation theories and methods used during the translation of the source text and the experience gained during the translation.&lt;br /&gt;
&lt;br /&gt;
===Overview of Annual Summary of the Government's Work===&lt;br /&gt;
There are three types of government reports:State of the Union address, political speeches, and the report of the government on its performance. The first two began in the United States and the last in the Soviet Union. Since the formation of the Soviet Union, at each congress of the Soviet High Council, the head of the government would make a report that contained information about the situation of the government's work performance and the problems encountered in various areas over the past year, as well as the government's plans and goals for the new year. Such government reports continue to this day in Russia. Such a report on work of the government was learned in our country and has been used since 1954.&lt;br /&gt;
&lt;br /&gt;
====Definition of Annual Work Summary by Government====&lt;br /&gt;
According to the Russian constitution, every spring, the Russian Prime Minister must submit to the State Duma a report on the work of the government in order to detail the performance of various work in the past year, the goals for further development in various areas, as well as the opportunities and challenges faced in the areas like economy, politics, diplomacy, population, education, and so on. The report on the work of the Russian government for the year, as a rule, consists of three parts:&lt;br /&gt;
&lt;br /&gt;
① Overview of the main work of the government of the past year：&lt;br /&gt;
It is necessary to summarize the main work of the government for the previous year, achievements in various areas and the realization of major goals, and then to detail each specific achievement of the work.&lt;br /&gt;
&lt;br /&gt;
② Work tasks for this year：&lt;br /&gt;
Draw up the government's work plan in detail for this year and the main goals. At first, explain the main ideas and main tasks of the government's work this year, then divide the work into several categories and explain in detail the measures the government needs to take.&lt;br /&gt;
&lt;br /&gt;
③ The government's own planning:&lt;br /&gt;
Explain the construction plan for the government.&lt;br /&gt;
&lt;br /&gt;
====The features of political essays（Take Chinese government reports for example）====&lt;br /&gt;
1．At discourse level&lt;br /&gt;
&lt;br /&gt;
①Repeated references to the same things&lt;br /&gt;
&lt;br /&gt;
a. 2010 GWR:积极 45;大力31;全面30;着力16;切实17;有效9;充分8 发展 146，建设87，加强67 促进42&lt;br /&gt;
&lt;br /&gt;
b. 2009 vs 2010: 增强 19-18;加大23-56;加快44-56&lt;br /&gt;
&lt;br /&gt;
②Unnecessary modifiers&lt;br /&gt;
&lt;br /&gt;
a.更加周密地做好应对各种风险和挑战的准备。&lt;br /&gt;
Make even more thorough preparations to deal with risks and challenges of all kinds. &lt;br /&gt;
&lt;br /&gt;
b.无比优越 &lt;br /&gt;
incomparable superiority&lt;br /&gt;
&lt;br /&gt;
c.就事关当今世界、事关双边关系的一些全局性和长期性重大问题深入交换意见.&lt;br /&gt;
(we)have been engaged in in-depth exchange of views with them on important overarching and long-term issues concerning the world situation and bilateral relations.&lt;br /&gt;
d.我们几代、十几代甚至几十代人想的一件事，要做的一件事，是我们100年、1000年也不会动摇的一个方针。&lt;br /&gt;
This is what we must focus on and achieve-not just this generation but for generations to come. This is the policy that will not change in 100 years or 1,000 years.&lt;br /&gt;
&lt;br /&gt;
2.At sentence level&lt;br /&gt;
&lt;br /&gt;
①Long sentences&lt;br /&gt;
经过三十多年的改革开放，我们从“以阶级斗争为纲”到以经济建设为中心，全面推进社会主义现代化事业;从搞计划经济到推进各方面改革，建立起社会主义市场经济体制;从封闭状态和片面强调自力更生，到实行对外开放、发展国际合作；从以意识形态划线到主张各种社会制度和发展模式和谐生存，全方位发展对外关系，中国的变化可谓天翻地覆。&lt;br /&gt;
More than 30 years of reform and opening up has brought about earth-shaking changes in the country: from &amp;quot;taking class struggle as the key principle&amp;quot; to focusing on economic development and building socialist modernization on all fronts, from planned economy to socialist market economy through reform across the board, from a closed society and over emphasis on self-reliance to opening up and international cooperation, from emphasis on ideology in external relations to advocating harmonious co-existence of various social systems and development models and developing external relations in an all-round way.&lt;br /&gt;
&lt;br /&gt;
②Subjectless sentences&lt;br /&gt;
如果我们不能很好地处理同外部世界的关系，新世纪头20年由国际形势总体和平，大国关系相对平稳和新科技革命迅猛发展提供的发展机遇就可能丧失。&lt;br /&gt;
lf we fail to manage well our relations with the rest of the world, we might miss the development opportunities provided by the overall peace in the world relative stability in relations between major countries and fast progress in new science and technology revolution in the first 20 years of the new century.&lt;br /&gt;
&lt;br /&gt;
③Parallel structure&lt;br /&gt;
a.总之，中国人穷日子过得太久了，最大的战略意图就是使自己的日子一天比一天、一年比一年过得好些，希望地球上的人们日子也一天比一天、一年比一年过得好些除此别无他图。&lt;br /&gt;
In a word, the Chinese people have suffered long enough from poverty. Our greatest and only strategic intention is to live a better life, where every day is better than the previous one. We wish the same for all the people in the world.&lt;br /&gt;
&lt;br /&gt;
b.买的放心，吃的放心，用的放心。&lt;br /&gt;
Buy food and drugs with confidence and consume them with satisfaction&lt;br /&gt;
&lt;br /&gt;
3.At word level&lt;br /&gt;
&lt;br /&gt;
①Unnecessary words&lt;br /&gt;
a.经济增速陡然下滑&lt;br /&gt;
The pace of our economic growth suddenly slowed down&lt;br /&gt;
&lt;br /&gt;
b.进一步落实好扶残助残的各项政策&lt;br /&gt;
Further implement policies for assisting and supporting them&lt;br /&gt;
&lt;br /&gt;
c.注重共同利益、发展共同利益、维护共同利益 &lt;br /&gt;
We value, develop and protect common interests&lt;br /&gt;
&lt;br /&gt;
②Terms with national characteristics&lt;br /&gt;
&lt;br /&gt;
a.小康社会 &lt;br /&gt;
well -off/ well-to-do/affluent/comfortable&lt;br /&gt;
&lt;br /&gt;
b.加快全面建设小康社会进程&lt;br /&gt;
Pick up the pace of building a moderatly prosperous society in all respects&lt;br /&gt;
&lt;br /&gt;
c.要使中国人民能过上小康社会的生活&lt;br /&gt;
To enable the Chinese people to live a comfortable life A society of initial prosperity&lt;br /&gt;
&lt;br /&gt;
d.以求同存&lt;br /&gt;
seeking common ground while shelving differences&lt;br /&gt;
&lt;br /&gt;
e.坚持奉行互利共赢的开放战略&lt;br /&gt;
we follow the win-win strategy of opening up&lt;br /&gt;
&lt;br /&gt;
③Figurative expressions&lt;br /&gt;
&lt;br /&gt;
a.metaphorical expression&lt;br /&gt;
&lt;br /&gt;
龙头企业 pacesetting enterprise&lt;br /&gt;
法宝 key&lt;br /&gt;
&lt;br /&gt;
b.metonymical expression 转喻&lt;br /&gt;
&lt;br /&gt;
米袋子 grain supply&lt;br /&gt;
各国唯有同舟共济而不是同舟共“挤”，同舟共渡而不是同舟共“斗”，才有出路。&lt;br /&gt;
Countries should consider themselves passengers in the same boat and cross the river peacefully together instead of fighting one another and trying to push one another off the boat.&lt;br /&gt;
&lt;br /&gt;
====Source text introduction====&lt;br /&gt;
&lt;br /&gt;
On July 22, Russian Prime Minister Mikhail Mishustin made a speech in the State Duma reporting on the work of the government for 2019.Among the main topics of the speech of the head of the Cabinet of Ministers were the fight against coronavirus infection, support and development of healthcare, education, labor market and housing construction, support of business and backbone enterprises, ensuring macroeconomic and financial stability. Mishustin called the main goal of the government to improve the quality of life of every person in the country. The Prime Minister stressed that the updated Constitution of the Russian Federation increases the responsibility of all branches of power. According to the head of the government, the Russian economy could make a breakthrough, but this was prevented by the pandemic and oil prices.&lt;br /&gt;
&lt;br /&gt;
===Strategies and methods used in the translation process===&lt;br /&gt;
&lt;br /&gt;
The first requirement for translating works of political style is to faithfully and accurately express the political and ideological content of the original, so that the translation has the same influential function as the original. In this chapter, based on the aforementioned theories and strategies, the author analyzed several translation options using examples from the report.&lt;br /&gt;
&lt;br /&gt;
====At Lexical level====&lt;br /&gt;
=====Addition=====&lt;br /&gt;
=====Omission=====&lt;br /&gt;
=====Conversion=====&lt;br /&gt;
====At Syntactical level====&lt;br /&gt;
=====Linear Order Translation=====&lt;br /&gt;
=====Reverse Order Translation=====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=彭瑞雪 An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation Styles, Translation Strategies, ''Le spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits.  The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
&lt;br /&gt;
To begin with, the first part of the thesis will briefly introduce Liu Miqing’s theory of translation style. In the second part of the paper, according to form and content of text, a number of prose or prose poems will be selected from ''Le Spleen de Paris''. Through textual analysis, we will discuss Gou Hong’an and Ya Ding’s grasp of the style of the original text from the perspectives of formal markers and non-formal markers and approach the differences between the translation styles of the two translations. In terms of formal markers, we will analyse and compare the texts from the perspective of register markers and lexical markers; in terms of non-formal markers, we will explain the texts from the perspective of the inner thoughts and feelings of the work and the spirituality of the writer. The third part will explore the stylistic translation devices of the two translations, citing examples from the standpoint of rhetorical devices, sentence structure and punctuation, and then summarise the translation views of both Guo Hong’an and Ya Ding in relation to the synthesis principles of style translation. Thereby, we expect to gain a further appreciation of the main idea and thoughts of Le Spleen de Paris, a better understanding of Ya Ding’s and Guo Hong’an’s views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===1 Liu Miqing’s theory of translation style===&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable”(刘宓庆 240). In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective ”(刘宓庆 249). The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
&lt;br /&gt;
In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. In the following discussion, we will refer to the principle of adaptability and the principle of synthesis. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’”(刘宓庆 261). The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
===2 Analysis and comparison of translation styles===&lt;br /&gt;
According to the form and content of the chapters, we have selected four prose or prose poems from Le Spleen de Paris as a foundation for a specific analysis and comparison of the translation styles of the two texts. ''L’Étranger'', a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” ''Chacun sa chimère'', a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general; ''In Le Chien et le flacon'', the language is emotionally powerful, mapping people's insensitivity and satirising society’s reversal of black and white by writing about dogs’ identical attitudes to both perfume and faeces, while the two translators’ translations present different styles of satire; ''Envirez-vous'' has three paragraphs with short sentences and the content is mainly emotional, yet the two translations are very different in form: Guo’s translation is similar to the original in form, translated into three short paragraphs, while the form of Ya Ding’s translation is closer to poetry, with eight stanzas in total.&lt;br /&gt;
&lt;br /&gt;
====2.1 Register Markers: “elegant” and “vulgar”====&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features”(刘宓庆 242). From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
1.1.1《异乡人》与《陌生人》&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s ''Inscription of the Monastery of the Huqiu Temple in Suzhou'' (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s ''Farewell to Xucai Li on the River'' (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”[1]. However, in ancient Chinese, the use of “陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel ''The Case of Pao Gong'' (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel ''The Mirror and the Flower'' (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”[2]. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
E.g. (a)&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
====2.2 Lexical Markers: conciseness and elongation====&lt;br /&gt;
&lt;br /&gt;
====2.3 Inner character of work and writer: sharpness and softness====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===3 Devices and principles of style translation===&lt;br /&gt;
&lt;br /&gt;
====2.1 Rhetorical devices====&lt;br /&gt;
&lt;br /&gt;
====2.2 Sentence structure====&lt;br /&gt;
&lt;br /&gt;
====2.3 Punctuation====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1] 北京大学中国语言学研究中心. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆. 新编当代翻译理论[M]. 北京: 中国对外翻译出版公司, 2005.&lt;br /&gt;
&lt;br /&gt;
=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
&lt;br /&gt;
The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
&lt;br /&gt;
The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
&lt;br /&gt;
On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
&lt;br /&gt;
Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
&lt;br /&gt;
In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
&lt;br /&gt;
Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
&lt;br /&gt;
There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
&lt;br /&gt;
===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
&lt;br /&gt;
To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
&lt;br /&gt;
1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
&lt;br /&gt;
2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
&lt;br /&gt;
3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
&lt;br /&gt;
To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
&lt;br /&gt;
Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
&lt;br /&gt;
Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
&lt;br /&gt;
From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
&lt;br /&gt;
==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
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At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
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At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
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In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
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This article believes that the success of Yang’s English translation of &amp;quot;''Kong I-Chi''&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspiration for the English translation of other Lu Xun's novels.&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Gender Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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=== Translation summary===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hong-Ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century. In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature. With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators. &lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hong-Ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand. &lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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====Fusion of Horizons====&lt;br /&gt;
====Fusion of Horizons in translation study====&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
====The history of translations of ''Lun Yu''====&lt;br /&gt;
====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
====Horizon of the original text====&lt;br /&gt;
====Horizon of the translator====&lt;br /&gt;
====Horizon of the target language culture====&lt;br /&gt;
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=== Contrastive Analysis===&lt;br /&gt;
====Description of key conceptual words====&lt;br /&gt;
====Different translations of key conceptual words====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=杨柳青 English Poetry Translation-A case study of=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===摘要===&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===Body===&lt;br /&gt;
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===Conclusion===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
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		<title>Translation types, strategies, styles, methods</title>
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		<updated>2021-11-23T08:45:17Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Conclusion */&lt;/p&gt;
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&lt;div&gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
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===Introduction===&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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===Literature Review===&lt;br /&gt;
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===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
　　In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
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===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
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The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
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Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
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===''Legend of Zhen Huan'': A Case study===&lt;br /&gt;
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===Cultural Translation Strategies and Methods===&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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===Other Translation Methods===&lt;br /&gt;
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===Omission===&lt;br /&gt;
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===Addition===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
&lt;br /&gt;
====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
&lt;br /&gt;
Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
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====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
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From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
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====General Introduction====&lt;br /&gt;
&lt;br /&gt;
Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
&lt;br /&gt;
In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2009). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
&lt;br /&gt;
====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
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Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
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''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
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Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
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After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation'' in 1981. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
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With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'' (1988), Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
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To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
&lt;br /&gt;
====At Lexical Level====&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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=刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 The application of communicative translation theory at lexical level===&lt;br /&gt;
Vocabulary is the foundation of sentences and the carrier of language application. The translation quality of vocabulary will directly affect the translation quality of sentences and even paragraphs. Therefore, under the guidance of communicative translation theory, this summary mainly analyzes the translation of words in The Pure Man and The Goat Family by adopting the strategies of translation modification and meaning extension on the basis of following the Chinese expression and diction habits and considering the understanding ability of Chinese readers.&lt;br /&gt;
&lt;br /&gt;
4.4.1 Transliteration&lt;br /&gt;
&lt;br /&gt;
The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
Eg.1 :그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
Translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Translation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
Eg. 2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
Eg. 3：쓰러진 동식이 걱정돼서라기보다, 아버지에 이어 어느 자식에게도 마음의 의지처를 갖지 못한 엄마를 향한 가여움때문에 나는 서둘러 친정으로 출발했다.&lt;br /&gt;
Translation：我赶紧往娘家奔去的原因与其说我担心晕倒的东植，不如说是对母亲的怜悯，因为父亲去世后，母亲没有了任何心灵依靠。&lt;br /&gt;
Translation：我赶紧往娘家奔去，与其说是因为担心晕倒的东植，不如说是因为心疼和担心母亲，毕竟父亲去世后，母亲没有了任何精神依靠。&lt;br /&gt;
In the original text ‘가여움’ is a noun, means poor, unfortunately, at the beginning of translation according to the original meaning of the translation, but not read through the sentence before and after will find the rest of the sentence, read incoherent, then consider when they use the techniques, the noun form transformed into verbs, this sentence will be more smooth, does not leave obscure sense for readers.&lt;br /&gt;
Eg. 4：그때, 그날의 아침을 떠올리는 건 막내딸뿐일까. 막내 여동생과 우연히 시내에서 만난 둘째 아들은 동생이 커피를 두모금쯤 마시고는 오빠, 난 왜 자꾸, 그러니까 껀떡하면 그때가 생각나는지 몰라, 그날 아침 말이야, 했을 때, 내색할 수는 없는 익숙한 지겨움을 느꼈다.&lt;br /&gt;
Translation：好像只有小女儿记得那天早晨发生的事情。二儿子在城里偶然遇见了小妹，便一起坐进了咖啡馆，小女儿刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Translation：好像只有小妹记得那天早晨发生的事情。我在城里偶然遇见了小妹，便一起坐进了咖啡馆，小妹刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Full text with the third perspective in telling the story of a family, at the beginning of the author in the translation, in the original &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot;, &amp;quot;둘 째 아 들&amp;quot; literal translation, the whole piece down not only give readers relationship chaotic feeling, experience and make the whole article, based on the theory of communicative translation, USES the change of translation, according to the relationship between the characters in the article, The noun &amp;quot;in the full text will 둘 째 아 들&amp;quot; changed into the first personal pronoun &amp;quot;I&amp;quot;, the &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot; translated into &amp;quot;kid sister&amp;quot;, and &amp;quot;큰 아 들&amp;quot;, &amp;quot;큰 딸&amp;quot;, &amp;quot;둘 째 딸&amp;quot; and &amp;quot;둘 째 아 들&amp;quot; respectively translated into &amp;quot;eldest brother&amp;quot;, &amp;quot;big sister&amp;quot;, &amp;quot;two sisters, strengthens the relationship of the characters in the article connected - At the same time, it also shortens the distance between the original text and the translated readers, enhances the affinity of the novel, and creates a story-oriented and readable reading atmosphere for readers.&lt;br /&gt;
4.1.2 Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
Eg.5 ：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
10: ①그러니까 엄 그러니까 엄 는 내 if 돈 얘기 wish to be added&lt;br /&gt;
것 taitei wish 렐.&lt;br /&gt;
②형 taitae 옆구 wish 를 툭 치며.&lt;br /&gt;
③까지는 살큼 익 罚 서 찬지름 치 서 찬지름 치 조선간 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 doctor Infoequalizer&lt;br /&gt;
原 文 : ① But mother seemed to have read my mind and gagged me first.&lt;br /&gt;
② The eldest brother poked me with his elbow.&lt;br /&gt;
③ When steamed seven or eight cooked, sprinkle with sesame oil and mix it well, which is better than those meat food.&lt;br /&gt;
&lt;br /&gt;
===3.2 The application of communicative translation theory at the sentence level===&lt;br /&gt;
&lt;br /&gt;
===3.3 The rhetorical application of communicative translation theory===&lt;br /&gt;
&lt;br /&gt;
===4 conclusion===&lt;br /&gt;
&lt;br /&gt;
=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)&amp;quot;our lives&amp;quot; 我们的一生&lt;br /&gt;
&lt;br /&gt;
(2)&amp;quot;This ignorance&amp;quot; 这种无知&lt;br /&gt;
&lt;br /&gt;
(3)&amp;quot;your and my ignorance&amp;quot; 你我的无知&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(4)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(5)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
&lt;br /&gt;
这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(6)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(7)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(8)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names, for example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(9)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019=&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
According to the Russian Constitution, every spring the Prime Minister of Russia is required to present to the State Duma an annual summary of the government's work, including a description of what Russia has accomplished in the past year in different areas , the challenges encountered, and the government's plans and goals set for the new year. The annual summary of the Russian government's work is one of the ways to know the development and future plans of Russia and the important document for studying Russia.This type of text belongs to the category of political essays. Therefore, it is important to master the translation strategies and methods of political essays.This paper takes the &amp;quot;Annual Work Summary of the Russian Government in 2019&amp;quot; as a study case, and the author uses the existing translation theories and methods as a guide to work on the translation, and summarizes some of his own experiences in the translation process, hoping that this paper can be helpful for the same type of translation research work.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Russia;Translation strategies and methods;Political essay;The Annual Summary of government's work&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The form of annual summary of the Russian government's work started in the Soviet period. Since the formation of the Soviet Union, at each congress of the High Council the head of the government would make a summary, which contained information about the situation of the accomplishment of government work and the problems encountered in various areas during the past year, as well as the plans and goals of the government for the new year. Such government summary has continued to the present day in Russia. &lt;br /&gt;
&lt;br /&gt;
The report on the work of the Russian government is not only the routine work of the prime minister, but also one of the ways for Russians and the whole world to understand the development and future of Russia. Thus, the annual government report can be described as an important document for the study of Russia. &lt;br /&gt;
&lt;br /&gt;
The government report belongs to the political essay style. In recent years, the political essay in Russian has been studied in increasing numbers. This mainly includes the following aspects: ①the features of this style; ②stylistics; ③translation strategies from Russian to foreign languages.&lt;br /&gt;
&lt;br /&gt;
Nowadays, quite a few native and foreign researchers are working on the research of this topic. For example, in the thesis &amp;quot; The Pronunciation Features of the political style of speech&amp;quot; (Veshchikova I. A.,1994) the author tells about the heterogeneity of literary language and one of the forms of its existence - the political style of speech and features of the organization of its phonetic varieties; And the article &amp;quot;Structural, semantic and functional features of references in the political style of Russian language&amp;quot; (Mizin O.A.,1973 ) was devoted to the characteristics of speech in publicist articles; also the book &amp;quot;Political style: new features&amp;quot; (E.M. Lazutkina,2008), and a textbook for students &amp;quot;Social-political style of speech&amp;quot; (Shvets A.V.,1984)and so on. Meanwhile, the results of Chinese researchers should be noted. For example, Wang Yingying(王莹莹), a graduate student of Heilongjiang University, wrote a paper in which the author summarized the features and ways of translation of phrases and expressions used in political essays. In addition, the textbook &amp;quot;Course of Translation from Russian to Chinese&amp;quot; (蔡毅，2009) edited by Cai Yi (蔡毅). In it, many example sentences come from the political essays. &lt;br /&gt;
&lt;br /&gt;
The following research methods are used in writing this paper:&lt;br /&gt;
1. Gather theoretical materials related to the selected topics;&lt;br /&gt;
2. Use relevant books on translation theories and underline specific sentences in the source text that use a particular translation theory;&lt;br /&gt;
3. Discover problems, solve problems, and generalize translation experiences.&lt;br /&gt;
&lt;br /&gt;
The paradigm in this paper -- “The Annual Summary of the Russian Government's Work of 2019”.&lt;br /&gt;
&lt;br /&gt;
The object of the paper -- the features of the political essays, translation theories and methods used during the translation of the source text and the experience gained during the translation.&lt;br /&gt;
&lt;br /&gt;
===Overview of Annual Summary of the Government's Work===&lt;br /&gt;
There are three types of government reports:State of the Union address, political speeches, and the report of the government on its performance. The first two began in the United States and the last in the Soviet Union. Since the formation of the Soviet Union, at each congress of the Soviet High Council, the head of the government would make a report that contained information about the situation of the government's work performance and the problems encountered in various areas over the past year, as well as the government's plans and goals for the new year. Such government reports continue to this day in Russia. Such a report on work of the government was learned in our country and has been used since 1954.&lt;br /&gt;
&lt;br /&gt;
====Definition of Annual Work Summary by Government====&lt;br /&gt;
According to the Russian constitution, every spring, the Russian Prime Minister must submit to the State Duma a report on the work of the government in order to detail the performance of various work in the past year, the goals for further development in various areas, as well as the opportunities and challenges faced in the areas like economy, politics, diplomacy, population, education, and so on. The report on the work of the Russian government for the year, as a rule, consists of three parts:&lt;br /&gt;
&lt;br /&gt;
① Overview of the main work of the government of the past year：&lt;br /&gt;
It is necessary to summarize the main work of the government for the previous year, achievements in various areas and the realization of major goals, and then to detail each specific achievement of the work.&lt;br /&gt;
&lt;br /&gt;
② Work tasks for this year：&lt;br /&gt;
Draw up the government's work plan in detail for this year and the main goals. At first, explain the main ideas and main tasks of the government's work this year, then divide the work into several categories and explain in detail the measures the government needs to take.&lt;br /&gt;
&lt;br /&gt;
③ The government's own planning:&lt;br /&gt;
Explain the construction plan for the government.&lt;br /&gt;
&lt;br /&gt;
====The features of political essays（Take Chinese government reports for example）====&lt;br /&gt;
1．At discourse level&lt;br /&gt;
&lt;br /&gt;
①Repeated references to the same things&lt;br /&gt;
&lt;br /&gt;
a. 2010 GWR:积极 45;大力31;全面30;着力16;切实17;有效9;充分8 发展 146，建设87，加强67 促进42&lt;br /&gt;
&lt;br /&gt;
b. 2009 vs 2010: 增强 19-18;加大23-56;加快44-56&lt;br /&gt;
&lt;br /&gt;
②Unnecessary modifiers&lt;br /&gt;
&lt;br /&gt;
a.更加周密地做好应对各种风险和挑战的准备。&lt;br /&gt;
Make even more thorough preparations to deal with risks and challenges of all kinds. &lt;br /&gt;
&lt;br /&gt;
b.无比优越 &lt;br /&gt;
incomparable superiority&lt;br /&gt;
&lt;br /&gt;
c.就事关当今世界、事关双边关系的一些全局性和长期性重大问题深入交换意见.&lt;br /&gt;
(we)have been engaged in in-depth exchange of views with them on important overarching and long-term issues concerning the world situation and bilateral relations.&lt;br /&gt;
d.我们几代、十几代甚至几十代人想的一件事，要做的一件事，是我们100年、1000年也不会动摇的一个方针。&lt;br /&gt;
This is what we must focus on and achieve-not just this generation but for generations to come. This is the policy that will not change in 100 years or 1,000 years.&lt;br /&gt;
&lt;br /&gt;
2.At sentence level&lt;br /&gt;
&lt;br /&gt;
①Long sentences&lt;br /&gt;
经过三十多年的改革开放，我们从“以阶级斗争为纲”到以经济建设为中心，全面推进社会主义现代化事业;从搞计划经济到推进各方面改革，建立起社会主义市场经济体制;从封闭状态和片面强调自力更生，到实行对外开放、发展国际合作；从以意识形态划线到主张各种社会制度和发展模式和谐生存，全方位发展对外关系，中国的变化可谓天翻地覆。&lt;br /&gt;
More than 30 years of reform and opening up has brought about earth-shaking changes in the country: from &amp;quot;taking class struggle as the key principle&amp;quot; to focusing on economic development and building socialist modernization on all fronts, from planned economy to socialist market economy through reform across the board, from a closed society and over emphasis on self-reliance to opening up and international cooperation, from emphasis on ideology in external relations to advocating harmonious co-existence of various social systems and development models and developing external relations in an all-round way.&lt;br /&gt;
&lt;br /&gt;
②Subjectless sentences&lt;br /&gt;
如果我们不能很好地处理同外部世界的关系，新世纪头20年由国际形势总体和平，大国关系相对平稳和新科技革命迅猛发展提供的发展机遇就可能丧失。&lt;br /&gt;
lf we fail to manage well our relations with the rest of the world, we might miss the development opportunities provided by the overall peace in the world relative stability in relations between major countries and fast progress in new science and technology revolution in the first 20 years of the new century.&lt;br /&gt;
&lt;br /&gt;
③Parallel structure&lt;br /&gt;
a.总之，中国人穷日子过得太久了，最大的战略意图就是使自己的日子一天比一天、一年比一年过得好些，希望地球上的人们日子也一天比一天、一年比一年过得好些除此别无他图。&lt;br /&gt;
In a word, the Chinese people have suffered long enough from poverty. Our greatest and only strategic intention is to live a better life, where every day is better than the previous one. We wish the same for all the people in the world.&lt;br /&gt;
&lt;br /&gt;
b.买的放心，吃的放心，用的放心。&lt;br /&gt;
Buy food and drugs with confidence and consume them with satisfaction&lt;br /&gt;
&lt;br /&gt;
3.At word level&lt;br /&gt;
&lt;br /&gt;
①Unnecessary words&lt;br /&gt;
a.经济增速陡然下滑&lt;br /&gt;
The pace of our economic growth suddenly slowed down&lt;br /&gt;
&lt;br /&gt;
b.进一步落实好扶残助残的各项政策&lt;br /&gt;
Further implement policies for assisting and supporting them&lt;br /&gt;
&lt;br /&gt;
c.注重共同利益、发展共同利益、维护共同利益 &lt;br /&gt;
We value, develop and protect common interests&lt;br /&gt;
&lt;br /&gt;
②Terms with national characteristics&lt;br /&gt;
&lt;br /&gt;
a.小康社会 &lt;br /&gt;
well -off/ well-to-do/affluent/comfortable&lt;br /&gt;
&lt;br /&gt;
b.加快全面建设小康社会进程&lt;br /&gt;
Pick up the pace of building a moderatly prosperous society in all respects&lt;br /&gt;
&lt;br /&gt;
c.要使中国人民能过上小康社会的生活&lt;br /&gt;
To enable the Chinese people to live a comfortable life A society of initial prosperity&lt;br /&gt;
&lt;br /&gt;
d.以求同存&lt;br /&gt;
seeking common ground while shelving differences&lt;br /&gt;
&lt;br /&gt;
e.坚持奉行互利共赢的开放战略&lt;br /&gt;
we follow the win-win strategy of opening up&lt;br /&gt;
&lt;br /&gt;
③Figurative expressions&lt;br /&gt;
&lt;br /&gt;
a.metaphorical expression&lt;br /&gt;
&lt;br /&gt;
龙头企业 pacesetting enterprise&lt;br /&gt;
法宝 key&lt;br /&gt;
&lt;br /&gt;
b.metonymical expression 转喻&lt;br /&gt;
&lt;br /&gt;
米袋子 grain supply&lt;br /&gt;
各国唯有同舟共济而不是同舟共“挤”，同舟共渡而不是同舟共“斗”，才有出路。&lt;br /&gt;
Countries should consider themselves passengers in the same boat and cross the river peacefully together instead of fighting one another and trying to push one another off the boat.&lt;br /&gt;
&lt;br /&gt;
====Source text introduction====&lt;br /&gt;
&lt;br /&gt;
On July 22, Russian Prime Minister Mikhail Mishustin made a speech in the State Duma reporting on the work of the government for 2019.Among the main topics of the speech of the head of the Cabinet of Ministers were the fight against coronavirus infection, support and development of healthcare, education, labor market and housing construction, support of business and backbone enterprises, ensuring macroeconomic and financial stability. Mishustin called the main goal of the government to improve the quality of life of every person in the country. The Prime Minister stressed that the updated Constitution of the Russian Federation increases the responsibility of all branches of power. According to the head of the government, the Russian economy could make a breakthrough, but this was prevented by the pandemic and oil prices.&lt;br /&gt;
&lt;br /&gt;
===Strategies and methods used in the translation process===&lt;br /&gt;
&lt;br /&gt;
The first requirement for translating works of political style is to faithfully and accurately express the political and ideological content of the original, so that the translation has the same influential function as the original. In this chapter, based on the aforementioned theories and strategies, the author analyzed several translation options using examples from the report.&lt;br /&gt;
&lt;br /&gt;
====At Lexical level====&lt;br /&gt;
=====Addition=====&lt;br /&gt;
=====Omission=====&lt;br /&gt;
=====Conversion=====&lt;br /&gt;
====At Syntactical level====&lt;br /&gt;
=====Linear Order Translation=====&lt;br /&gt;
=====Reverse Order Translation=====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=彭瑞雪 An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation Styles, Translation Strategies, ''Le spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits.  The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
&lt;br /&gt;
To begin with, the first part of the thesis will briefly introduce Liu Miqing’s theory of translation style. In the second part of the paper, according to form and content of text, a number of prose or prose poems will be selected from ''Le Spleen de Paris''. Through textual analysis, we will discuss Gou Hong’an and Ya Ding’s grasp of the style of the original text from the perspectives of formal markers and non-formal markers and approach the differences between the translation styles of the two translations. In terms of formal markers, we will analyse and compare the texts from the perspective of register markers and lexical markers; in terms of non-formal markers, we will explain the texts from the perspective of the inner thoughts and feelings of the work and the spirituality of the writer. The third part will explore the stylistic translation devices of the two translations, citing examples from the standpoint of rhetorical devices, sentence structure and punctuation, and then summarise the translation views of both Guo Hong’an and Ya Ding in relation to the synthesis principles of style translation. Thereby, we expect to gain a further appreciation of the main idea and thoughts of Le Spleen de Paris, a better understanding of Ya Ding’s and Guo Hong’an’s views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===1 Liu Miqing’s theory of translation style===&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable”(刘宓庆 240). In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective ”(刘宓庆 249). The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
&lt;br /&gt;
In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. In the following discussion, we will refer to the principle of adaptability and the principle of synthesis. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’”(刘宓庆 261). The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
===2 Analysis and comparison of translation styles===&lt;br /&gt;
According to the form and content of the chapters, we have selected four prose or prose poems from Le Spleen de Paris as a foundation for a specific analysis and comparison of the translation styles of the two texts. ''L’Étranger'', a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” ''Chacun sa chimère'', a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general; ''In Le Chien et le flacon'', the language is emotionally powerful, mapping people's insensitivity and satirising society’s reversal of black and white by writing about dogs’ identical attitudes to both perfume and faeces, while the two translators’ translations present different styles of satire; ''Envirez-vous'' has three paragraphs with short sentences and the content is mainly emotional, yet the two translations are very different in form: Guo’s translation is similar to the original in form, translated into three short paragraphs, while the form of Ya Ding’s translation is closer to poetry, with eight stanzas in total.&lt;br /&gt;
&lt;br /&gt;
====2.1 Register Markers: “elegant” and “vulgar”====&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features”(刘宓庆 242). From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
1.1.1《异乡人》与《陌生人》&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s ''Inscription of the Monastery of the Huqiu Temple in Suzhou'' (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s ''Farewell to Xucai Li on the River'' (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”[1]. However, in ancient Chinese, the use of “陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel ''The Case of Pao Gong'' (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel ''The Mirror and the Flower'' (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”[2]. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
E.g. (a)&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
====2.2 Lexical Markers: conciseness and elongation====&lt;br /&gt;
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====2.3 Inner character of work and writer: sharpness and softness====&lt;br /&gt;
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===3 Devices and principles of style translation===&lt;br /&gt;
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====2.1 Rhetorical devices====&lt;br /&gt;
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====2.2 Sentence structure====&lt;br /&gt;
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====2.3 Punctuation====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
[1] 北京大学中国语言学研究中心. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[2] 北京大学中国语言学研究中心. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
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[3] 刘宓庆. 新编当代翻译理论[M]. 北京: 中国对外翻译出版公司, 2005.&lt;br /&gt;
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=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
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As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
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''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
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'''Methodology'''&lt;br /&gt;
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In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
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'''Literature Review'''&lt;br /&gt;
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As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
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Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
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=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
&lt;br /&gt;
Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
This article selects Yang’s translation of &amp;quot;''Kong I-Chi''&amp;quot; as the study case, and analyzes the translation effect from three aspects: lexicon, syntax and semantics, combined with Nida’s Functional Equivalence Theory. It is believed that the translator flexibly uses a variety of translation methods to deal with the differences between English and Chinese languages, and the translation has realized functional equivalence as a whole.&lt;br /&gt;
&lt;br /&gt;
At the lexical level, the translator adopts the naturalization method when translating the proper nouns of &amp;quot; ''Kong I-Chi'' &amp;quot;, adding notes to individual words. The translation perfectly conveys the meaning of the original vocabulary. &lt;br /&gt;
&lt;br /&gt;
At the syntactic level, when there are differences in the expression of English and Chinese sentences, the translator will split the sentence, adjust the subject and object of the sentence, change the sentence structure and the sentence order to make the translation conform to the expression of the target language where the translation is smooth and natural. When translating the allusions of &amp;quot; ''Kong I-Chi'' &amp;quot;, the translator adopts literal translation and annotations. &lt;br /&gt;
&lt;br /&gt;
In terms of semantics, the translator uses the mechanism of conceptual metaphors to accurately show the original flavor.&lt;br /&gt;
&lt;br /&gt;
This article believes that the success of Yang’s English translation of &amp;quot;Kong I-Chi&amp;quot; lies in its fluent, natural language and exotic flavor. The author and translator of &amp;quot; ''Kong I-Chi'' &amp;quot; are both famous artists. The translation case from the English translation of &amp;quot;''Kong I-Chi''&amp;quot; reflects the practical application of the Functional Equivalence Theory in Lu Xun's novels. The writer also hopes that this thesis can provide ideas and inspiration for the English translation of other Lu Xun's novels.&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
&lt;br /&gt;
[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Gender Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
&lt;br /&gt;
=== Text background===&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
&lt;br /&gt;
=== Translation skills, methods and case studies===&lt;br /&gt;
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=== Translation summary===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hong-Ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century. In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature. With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators. &lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hong-Ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
&lt;br /&gt;
====Fusion of Horizons====&lt;br /&gt;
====Fusion of Horizons in translation study====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
====The history of translations of ''Lun Yu''====&lt;br /&gt;
====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
&lt;br /&gt;
=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
====Horizon of the original text====&lt;br /&gt;
====Horizon of the translator====&lt;br /&gt;
====Horizon of the target language culture====&lt;br /&gt;
&lt;br /&gt;
=== Contrastive Analysis===&lt;br /&gt;
====Description of key conceptual words====&lt;br /&gt;
====Different translations of key conceptual words====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=杨柳青 English Poetry Translation-A case study of=&lt;br /&gt;
[[Trans_Type_EN_10]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words===&lt;br /&gt;
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===摘要===&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===Body===&lt;br /&gt;
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===Conclusion===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127946</id>
		<title>Translation types, strategies, styles, methods</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Translation_types,_strategies,_styles,_methods&amp;diff=127946"/>
		<updated>2021-11-23T08:27:39Z</updated>

		<summary type="html">&lt;p&gt;Qing Jianan: /* Semantic Analysis */&lt;/p&gt;
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&lt;div&gt;&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;'''Translation types, strategies, styles, methods'''&lt;br /&gt;
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[[Translation_types,_strategies,_styles,_methods|Overview Page of Translation types, strategies, styles, methods]]&lt;br /&gt;
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=阳佳颖 Analysis On Subtitling Strategies in the American Version of the ''Legend of Zhen Huan''= &lt;br /&gt;
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[[Trans_Type_EN_1]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
''Legend of Zhen Huan'', as an excellent Chinese TV series, has successfully entered the American market. However, the American version of Legend of Zhen Huan still has some shortcomings in translation. By comparing and analyzing the subtitle texts of the ''Legend of Zhen Huan'' in China and the United States, this paper aims to discuss the problems existing in the overseas translation of the ''legend of Zhen Huan'' and the translation strategies and methods adopted in the subtitle translation of the American version, so as to provide some enlightenment for Chinese costume dramas to reach the world in the future.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Translation strategy and translation methods; ''Legend of Zhen Huan''; Subtitle translation&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The TV series ''Legend of Zhen Huan'' is Imperial-harem competing play produced by the Beijing Television Arts Center in 2011. This play is adapted from a novel of the same name written by Liu Lianzi, which mainly tells the story of the young girl Zhen Huan growing up from an unsophisticated young girl to an empress dowager who is good at politics. Since its debut in China in 2012, ''the Legend of Zhen Huan'' has been a hit among Chinese audiences, with its ratings rising and even forming “Zhen Huan craze” for a time. The reason why the play has received so much praise, on the one hand, is that the film and television script is well-produced; on the other hand, it is because the plots and dialogues of the characters in the play cover a wealth of historical and cultural knowledge, embodying the profundity of Chinese culture.&lt;br /&gt;
Due to its great success in the domestic market, the series finally attracted the attention of foreign producers: the American team adapted the original ''Legend of Zhen Huan'', cutting the 76-episode original drama into six episodes,which was officially launched on Netflix’s paid website in the United States on March 15, 2015. It is the first Chinese TV series to be broadcast on mainstream TV stations in the United States. &lt;br /&gt;
However, the American version of the ''Legend of Zhen Huan'' failed to be sought after by audiences in the US, with most viewers abandoning the show after only one or two episodes.The English lines of the ''Legend of Zhen Huan''’s have ever been criticized by some Chinese audiences. After a deep study of the reason, in addition to the lack of content caused by a large amount of deletion and cutting, another important reason is the insufficiency of subtitle translation. This paper attempts to explore the translation strategies of the subtitle of ''Legend of Zhen Huan'', hoping to provide some inspiration for the subtitle translation of domestic film and television works of the same type.&lt;br /&gt;
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===Literature Review===&lt;br /&gt;
&lt;br /&gt;
===Previous studies in Subtitle Tranlation abroad===&lt;br /&gt;
　　In the early 1970s, Doller Up (1974) published a paper entitled “On Subtitle in TV Programs” on Babel, an authoritative journal of the International Association of Translators, which was the first time that scholars paid special attention to subtitle translation. In addition, he creatively pointed out the great value of TV subtitles to foreign language teaching, and then made contributions to the cause of education.&lt;br /&gt;
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In 1976, Istvan Fodor published a book called Film Dubbing: Aspects of Phonology, Semiotic Aesthetics, and Psychology, which centered on film dubbing from an acoustic perspective. Fodor argues that because each country’s language and culture are unique and irreplaceable, it is almost impossible to achieve perfect “synchronization” in all aspects of the translation of film(Fodor 1976:82).&lt;br /&gt;
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In 1982, Christopher Titford first proposed the concept of “restricted translation” in his article “Subtitling: Restricted Translation”. He believes that the limitations of film and television as a medium themselves are the main cause of problems encountered by translators in practice (Titford 1982:113).&lt;br /&gt;
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In 1992, Ivarsson, a Swedish subtitling translation scholar, published his book Subtitling for Media: A Handout of Art, which can be said to be the first comprehensive study of subtitling translation works in Europe. In this book, Ivarsson introduces the development of subtitle translation technology in detail. The most representative subtitle translation scholars are Gambill and Gottlieb, who are two translation theorists. Yves Gambill, a Finnish translator, is a very important expert in the field of film and television translation. Gambill has a wide range of research fields, he has compiled a large number of academic monographs, such as language transfer and Audiovisual Communication: bibliography, which discusses the classification of translation patterns, translation strategies, translation audience and so on (Gambill 1997).&lt;br /&gt;
&lt;br /&gt;
===Previous studies on Subtitle translation at home===&lt;br /&gt;
The research on subtitle translation in China mainly focuses on the English translation of Chinese films, and a large number of such papers and articles have been published, which are also the most representative research results of subtitle translation in China. In addition, with more and more domestic films moving toward the international stage, some attention has been paid to the study of Chinese subtitles.&lt;br /&gt;
&lt;br /&gt;
The study on Chinese and English subtitle translation can be divided into several fields, including film and television language characteristics, subtitle translation methods, subtitle translation history and so on.&lt;br /&gt;
&lt;br /&gt;
Subtitle translation methods can be broadly divided into two categories. One category refers to some practical translation methods and skills summed up by translators based on their years of translation experience, such as the seven kinds of experiences of film and television translation proposed by Qian Shaochang (2000), which stresses the importance of “translation” in the output of films and TV plays. The other is related to domestic MA papers. They usually start with some translation theories, such as German functional translation theory, Eugene Nida’s functional equivalence theory, relevance theory, and Susan Basnett’s cultural translation theory, and finally conclude translation methods such as domestication, foreignization, literal translation, free translation, omission and so on.&lt;br /&gt;
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In recent years, with the increasing popularity of American TV series in China, the phenomenon of online subtitle translation has begun to attract attention from all sides. As time went by, subtitle translation goes beyond the simple purpose of satisfying the entertainment needs of movie fans, and begin to be applied to teaching practice and students’ self-learning process. This phenomenon is bound to attract academic attention. For example, Wang Hui (2005) discussed this issue in his article “The Impact of Subtitling on Vocabulary Acquisition”. This paper draws some conclusions which are beneficial to foreign language teaching.&lt;br /&gt;
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However, there are still many deficiencies in the study on subtitle translation. The only literature we can refer to is few books on the translation of film and television subtitle. In other words, subtitle translation is not discussed in detail.&lt;br /&gt;
&lt;br /&gt;
===''Legend of Zhen Huan'': A Case study===&lt;br /&gt;
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===Cultural Translation Strategies and Methods===&lt;br /&gt;
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===Translation Methods under Foreignizing Strategy===&lt;br /&gt;
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===Translation Methods under Domesticating Strategy===&lt;br /&gt;
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===Other Translation Methods===&lt;br /&gt;
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===Omission===&lt;br /&gt;
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===Addition===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=刘晓 The Use of Translation Strategy and Translation Methods in Tourism Texts under the Guidance of Peter Newmark's Translation Theory -- A Case Study of ''Everglades National Park, Florida (Excerpt)''=&lt;br /&gt;
[[Trans_Type_EN_2]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
With the rapid growth of economy, people's pursuit of life quality is gradually increasing. Travelling abroad has become a hot topic nowadays. The rapid development of overseas travel has increased the market demand for tourism translation, and more stringent requirements for tourism translators. How to deal with the translation problems caused by the cultural differences between Chinese and English during the translation process is of great importance to improve the quality of tourism translation. The communicative translation strategy in Newmark's translation theory focuses on the effect that the translation brings to the target language readers, which is of certain guiding significance to the E-C translation of tourism texts. Therefore, this paper takes ''Everglades National Park, Florida (Excerpt)'' as an example to analyze the specific translation strategies and methods in the application of Newmark's translation theory in tourism texts, so as to provide reference for other translators.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation strategy and translation methods; Peter Newmark; Tourism texts&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
This paper is based on the English-Chinese translation of ''Everglades National Park, Florida (Excerpt)''. By analyzing the application of Peter Newmark's communicative transaltion in the translation, the author proposes some translation methods, which can be provided for future references.  This chapter mainly introduces the background information and significance of the report, and the domestic research status.&lt;br /&gt;
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====Research background====&lt;br /&gt;
&lt;br /&gt;
With the development of the world, various kinds of tourism appear in people’s life, and has unprecedentedly, extremely widely spread a variety of culture and lifestyle. Tourism has become a rising sunrise industry in modern society (Jin Huikang, 2007). To a foreign country to enjoy the beautiful scenery can make people know the colorful world and further know what they want. And this activity also has made tourism translation a reality and a thriving discipline.&lt;br /&gt;
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However, due to the different geographical environments, cultural differences and historical backgrounds in different countries, many translators often ignore the disadvantages brought by differences in language and cultural habits in the process of translation, so that the original meaning of the original text will be lost in the process of transmission, which may cause confusion for tourists and cannot achieve the purpose of offering them accurate information and stimulating their interest.&lt;br /&gt;
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Therefore, in order to make it more convenient for domestic citizens to travel abroad, translators should choose appropriate translation strategies and methods according to the cultural differences between China and foreign countries in the process of tourism English translation, so that tourists can form an objective and correct understanding of scenic spots. The semantic translation and communicative translation strategies in Peter Newmark’s Theories respectively focus on whether the meaning of the original text is exactly reproduced and the effect and influence that the translation brings to the target language readers, which are of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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====Research significance====&lt;br /&gt;
&lt;br /&gt;
In theory, based on Peter Newmark’s translation theories, this paper chooses the semantic translation strategy and puts forward appropriate translation methods for the English-Chinese translation of tourist text -- the ''Everglades National Park, Florida (Excerpt)'', which is of certain guiding significance for English - Chinese translation of tourist texts.&lt;br /&gt;
Based on the practice of the ''Everglades National Park, Florida (Excerpt)'' English - Chinese translation and the analysis of Newmark’s communicative translation strategy’s application, this paper sums up some translation methods, such as voice change, objective and personal subject changing, adding conjunctions, etc. And these methods can be provided for future references in the translation study and practice of others, which has a certain practical significance.&lt;br /&gt;
&lt;br /&gt;
====Literature review====&lt;br /&gt;
&lt;br /&gt;
Through the analysis of Newmark’s communicative translation in recent years, it can be found that there are many references for the guidance of communicative translation on tourism translation texts. He Xueyun (2005) proposes that the public notices and signs should belong to the vocative functional text and focus on the reader-centered communicative translation, which can give foreigners a better environment for travel, study and work in China. For such a style, the communicative translation theory should be chosen, the target readers put in the first place and always in mind, and their culture and receptivity taken into account. Jin Huikang (2006) believes that tour guide words must have a specific expected function, which are a kind of texts that integrate informative, expressive and vocative functions. Therefore, tourism translation should aim at effective attraction for overseas tourists, and the translator should grasp the group characteristics of overseas tourists and audiences when carrying out tourism propaganda or translating tourism materials. Ma Chen (2010) points out that the tourism text is a kind of article mainly based on vocative function, and the core of which is to accurately convey information for readers. Liu Anhong (2013) proposes tourism text as a kind of publicity material, aiming to stimulate tourists’ interest in visiting. According to the division of Newmark, the tourism text should belong to the text with the vocative function as its main function and the informative function as its secondary function. Therefore, the translation of tourism text should effectively achieve the effects similar to the original text.&lt;br /&gt;
&lt;br /&gt;
From the combing of previous literatures, it can be found that there are many studies on the translation of tourism texts guided by Newmark’s communicative translation strategy. However, at present, there are few studies on the translation of tourism texts from English to Chinese, and more studies focus on the Chinese- English translation. For this reason, this paper is based on the translation practice of ''Everglades National Park, Florida (Excerpt)'' to provide some reference for future English – Chinese translation of tourism.&lt;br /&gt;
&lt;br /&gt;
===Tourism Texts===&lt;br /&gt;
&lt;br /&gt;
====General Introduction====&lt;br /&gt;
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Tourism text is an important carrier for readers to obtain scenic spot information, and Tourism text is to stimulate readers' desire to travel by introducing tourist attractions and resources, and its ultimate purpose is to meet readers' expectations and arouse readers' enthusiasm by delivering tourism information. In other words, the dominant function of tourism text is vocative function. At the same time, tourism texts also provide readers with information they like, from which people can acquire relevant knowledge such as culture and customs, natural geography, etc. Therefore, informative function is also its important feature. It can be seen that the two most important functions of tourism texts are respectively informative and vocative one, whose premise is to provide information and purpose is to attract tourists. &lt;br /&gt;
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In addition, we should realize that translation of tourism texts is a professional translation of tourist attractions and resources for target readers, and its essence is a communicative behavior. If the translator fails to properly deal with the differences between cultures, it will often fail to achieve the expected results. Therefore, during the translation process, more attention should be paid to the accuracy and effectiveness of the information, so as to make the translation conform to the target readers’ reading habits and aesthetic expectation (Li Daosheng, 2009). This requires the translator to put the reader's acceptance first in the process of translation. That is, tourism text translation should not only realize the conversion from one language to another, but also take language barriers and cultural differences into account. Therefore, in order to achieve the goal of successful communication, translators should flexibly apply various translation strategies and adopt appropriate translation methods according to the text types of tourism texts.&lt;br /&gt;
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====Introduction to the ''Everglades National Park, Florida (Excerpt)''====&lt;br /&gt;
&lt;br /&gt;
Established in 1974, Everglades National Park covers 2,354 square miles, or 6,097 square kilometers (1.4 million acres). Located at the tip of southern Florida, it is the largest subtropical wildlife sanctuary in the continental United States. Everglades National Park protects an unparalleled landscape which provides important habitat for numerous rare and endangered species such as the manatee, American crocodile, and the elusive Florida panther.&lt;br /&gt;
&lt;br /&gt;
''Everglades National Park, Florida (Excerpt)'' is excerpted from a notice from U.S. National Park Service about the phased reopening of the park, including alerts of the reopening, activities, safety and accessibility. It can also be regarded as a travel guide, which describes the journey towards people and offers help to the tourists who want to go there, and which often includes the description of the best travel time, transportation, accommodation, scenic spots and matters needing attention. As a practical text, its main purpose is to introduce and promote tourist scenic spots, that is the Everglades National Park in Florida. Its vocative and informative function are very prominent, and it has the characteristics of reader-orientation, the effectiveness of information transmission and timeliness.&lt;br /&gt;
&lt;br /&gt;
===Newmark's Translation Theory===&lt;br /&gt;
&lt;br /&gt;
====General introduction of Peter Newmark's translation theories====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark, a well-known translation theorist, is one of the main figures in the founding of translation studies in the English-speaking world in 20th century. Newmark devoted himself to studying the past and present of Western translation, and put forward his own views on this basis. Newmark’s translation theories mainly include three parts, that is, the classification of text types, translation approaches, and the lately correlative theory of translation.&lt;br /&gt;
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According to Karl Buhler’s knowledge of language features and Jacobson’s classification of them, Newmark proposed six functions of language informative function, expressive function, vocative function, phatic function, aesthetic function, and lastly metalingual function. (Hou Yingying, 2020) Then Newmark divided text types into three: expressive-functional texts, informative-functional texts, vocative-functional texts.&lt;br /&gt;
&lt;br /&gt;
After putting forward these three text types, Peter Newmark suggested eight translation approaches or strategies. Firstly, from the perspective of focusing on the source language, he suggested word-for-word translation, literal translation, faithful translation and semantic translation; Secondly, from the perspective of focusing on the target language, he suggested adaptation, free translation, idiomatic translation and communicative translation (Newmark, 2001:45).&lt;br /&gt;
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In 2007, Newmark came up with a new theory, that is, correlative theory of translation, which means that “The more serious and important the language of the original or source text, the more closely it should be translated.” (Newmark, 2007)&lt;br /&gt;
&lt;br /&gt;
In conclusion, Peter Newmark has proposed many significant theories and made extensive discussion on those concepts, which will have a great influence on the translation practice.&lt;br /&gt;
&lt;br /&gt;
====Semantic translation and communicative translation====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark divided text genres into “expressive text”, “informative text” and “vocative text” in his classic work ''Approaches to Translation'' in 1981. Imaginative literary works, such as poems, songs, novels and dramas, authoritative statements, autobiographies, essays and personal correspondence, etc. are expressive texts. All the formatted texts with science and technology, industry and commerce, and economy as themes belong to informative texts. And vocative text refers to all texts that can infect readers and make them “get information”.&lt;br /&gt;
&lt;br /&gt;
With reference to these three kinds of texts, Newmark further creatively proposed the concepts of semantic translation and communicative translation: “communicative translation” means that the effect of the target text on the reader of the target language is as much as the effect of the original text on the reader of the source language; “semantic translation” refers to the reproduction of the context of the source text as accurately as possible under the premise of the semantic and syntactic structure of the target language. He believed that only communicative translation and semantic translation can achieve the two major goals of translation: being accurate, and being economic (effective).&lt;br /&gt;
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In ''About Translation'' (1988), Newmark made a detailed comparison of the characteristics of semantic translation and communicative translation from different aspects, and pointed out that the fundamental difference between them lies in that when the information and the effect are in conflict, communicative translation lays more emphasis on effect than content, while semantic translation lays more emphasis on content than effect. Communicative translation can give the translator full freedom, the translator can reorganize the syntax, eliminate the original obscure places in the source language, and make the language conform to the standard of the target language. However, semantic translation emphasizes the content of the information itself, tries to make the form of the target text similar to the form of the original text, and retains the language characteristics and expressive style of the original author. Therefore, compared with semantic translation, communicative translation is more subjective and can better reflect the translator’s creativity and it attaches great importance to the communicative effect of translation, the key to which is to convey information, make readers of the target language think, act and feel, and play an inductive role in making the translation natural and smooth, and more readable. &lt;br /&gt;
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Newmark pointed out that the translation of expressive texts should employ semantic translation, while informative and vocative texts communicative translation which is reader-centered. The most direct purpose of tourism texts translation is to convey information to readers on the premise of attracting readers’ attention and leaving readers with deep memories, so that readers can take actions -- to visit tourist attractions and pay attention to matters that should be paid attention to. Thus, it can be seen that the tourism text belongs to the vocative text and the communicative translation should be applied. &lt;br /&gt;
&lt;br /&gt;
To sum up, Newmark’s communicative translation focus on the effect that the translation brings to the target language readers, which is of certain guiding significance to the English- Chinese translation of tourism texts.&lt;br /&gt;
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===Case Study===&lt;br /&gt;
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The purpose of communicative translation is to try to make the translation have the same effect on the target reader as the original does on the source reader. That is to say, the key point of communicative translation is to be loyal to the target language and the target text reader, that is, the source language is required to obey the target language and culture, leaving no doubt or obscurity to the reader, and eliminating difficulties and obstacles in reading or communication for the reader as far as possible.&lt;br /&gt;
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Because the translator wants to achieve a certain communicative purpose, emphasizes the effect and has a specific target audience, the translation has inevitably broken the restrictions of the original text, pursuing smoothness, clarity, directness and conformity with conventions. In this part, the author analyzes the specific application of communicative translation in the translation practice of the ''Everglades National Park, Florida (Excerpt)'' from three aspects: lexical, syntactic and textual analysis.&lt;br /&gt;
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====At Lexical Level====&lt;br /&gt;
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====At Syntactical Level====&lt;br /&gt;
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====At Textual Level====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===References===&lt;br /&gt;
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=刘越 Translation methods and strategies for novel subject matter under the guidance of communicative translation theory -- A case study of Korean novel Eun-ju's Movie (Excerpt)=&lt;br /&gt;
[[Trans_Type_EN_3]]&lt;br /&gt;
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===Abstract===&lt;br /&gt;
There are many translation practices under the guidance of communicative translation theory, but there are not many translation practices in Korean novels. Through this translation practice, we hope to summarize the translation methods and strategies adopted in the translation of novel subject matter under the guidance of communicative translation theory in terms of vocabulary, sentence and rhetoric. In this paper, under the guidance of communicative translation theory of Korean novels &amp;quot;innocent people&amp;quot; and &amp;quot;the goat family&amp;quot; to analyze translation strategies and translation methods, let us hope that through the work of human changes in temperature to realize that the most warm affection and the most simple human feelings, seems to be the fact that more and more far from us, let us together to explore the history of the &amp;quot;family&amp;quot; gradually forgotten by us and meaning, Wake up our sense of affection, cause our emotional resonance.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Communicative translation theory; Korean novels; Translation methods and strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===The emergence and development of communicative translation===&lt;br /&gt;
According to the function of language, that is, the purpose of language use, Newmark proposed the following three text types: Expression function, information function, Vocative function.&lt;br /&gt;
The core of the expressive function is that the speaker or author uses some words to express his thoughts and feelings. The author's unique form of language is as important as its content.&lt;br /&gt;
Expressive functional texts emphasize the authority of the original author, and translation should follow the principle of &amp;quot;original author first&amp;quot;, which should be faithful to both the ideological content expressed by the original author and the language style of the original author, without considering the reaction of the target readers.The core of the information function is the external situation, that is, all the information about a topic, or the reality beyond words. The core of informational text is the &amp;quot;authenticity&amp;quot; of the content, and the author's language is secondary. The principle of &amp;quot;authenticity first&amp;quot; should be followed in translation.Vocative text emphasizes reader-centered, with the purpose of &amp;quot;calling on readers to act, think and feel&amp;quot;. Translation should follow the principle of &amp;quot;reader first&amp;quot; and put the target language readers in the first place. The translator can make full use of the advantages of the target language and not stick to the way of expression of the original text, so that the target language can achieve the same effect as the original language.&lt;br /&gt;
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On this basis, two translation concepts, communicative translation and semantic translation, are proposed. Newmark said that communicative translation theory focuses on the understanding and response of the recipient and focuses on the reader of the target text, paying more attention to the effect of the expression of the target text than the content. Translators can give full play to the advantages of the target language and introduce foreign elements into the target language culture, which has the advantages of naturalization, free translation and idiomatic translation. Semantic translation attaches great importance to the original text, focuses on the semantic content of the original text, strives to preserve the culture of the source language, and has the advantages of word-for-word translation, literal translation and faithful translation. Communicative translation applies to informative and appealing texts, such as autobiographies, personal emotional venting, important political statements (or other statements), most non-literary articles, news, intellectual articles and books, textbooks, reports, scientific and technological literature, official correspondence, propaganda, advertisements, bulletins, popular novels. His communicative translation and semantic translation have enriched the theoretical study of translation to a great extent, and also influenced the field of translation.&lt;br /&gt;
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===The applicability of communicative translation theory to the translation of popular novels===&lt;br /&gt;
First of all, the core content of communicative translation theory is that on the basis of being faithful to the content of the original text, it focuses on the readers' understanding ability and feelings, and pays more attention to the expression effect of the target text than the content. For the translator, the translator can give full play to the advantages of the target language and get rid of the constraints of the language structure of the original text. If the original text is illogical, ambiguous, and there are redundant words and ambiguities in the sentence, as well as dialects, coarse slang and other phenomena in the article, the translator has the right to reorganize the syntax and improve it by using collocation and common sentence patterns in accordance with the habits of the target language, so as to make the language more standardized. Translators also have the right to correct errors and omissions in the original text.&lt;br /&gt;
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Secondly, according to Newmark's text type, communicative translation theory is applicable to vocative texts, which focus on the inspiring effect and take the target readers as the center. The purpose of translation is to elicit the desired response, including popular books and best-selling novels. The common goal of communicative translation theory and appeal text is to make readers think and resonate emotionally. The novel is mainly composed of characters, plots and descriptions of the environment to reflect the social reality. Novel is a literary genre that conveys thoughts and feelings and arouses readers' resonance. It belongs to appeal text, so communicative translation theory is suitable for novel translation.&lt;br /&gt;
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The most important thing in novel translation is to convey the content of the original text and the author's thoughts and feelings to the readers, and to arouse the readers' deep thinking and empathy. When translating a novel, we should describe the plot of the original text to the readers and try to get close to the literary image described by the author and the literary artistic conception created in the novel.&lt;br /&gt;
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If only follow the content style and text structure of the original text, it will violate the original intention of translation, making the translation obscure and unclear. Under the guidance of communicative translation theory, the translator can give full play to the advantages of the target language, modify and polish the original text, adjust the logic of expression, eliminate the differences between the original text and the target text, and get a smooth translation. At the same time, the translator can also pay more attention to the target readers, fully consider the reading habits and thinking mode of the target readers, and use easy to understand language vocabulary to convey the information of the source text and the thoughts and feelings of the source text author to the readers, so that the target text readers and the source text readers get the same effect.&lt;br /&gt;
&lt;br /&gt;
=== Case study under the guidance of communicative translation theory===&lt;br /&gt;
Guided by Peter Newmark's communicative translation theory, the author carries out translation practice on two short stories &amp;quot;The Innocent Man&amp;quot; and &amp;quot;The Goat Family&amp;quot;. Under the guidance of communicative translation theory, this section adopts the strategies of translation modification and meaning extension to solve the problems of ambiguous and implicit sentences in novels. At the sentence level, the strategy of paraphrase, syntactic and translation is adopted. In the aspect of rhetoric, this paper adopts the translation strategies of addition and repetition, and makes a case study to explore and summarize the translation methods and strategies applicable to novel subject matter under the guidance of communicative translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 The application of communicative translation theory at lexical level===&lt;br /&gt;
Vocabulary is the foundation of sentences and the carrier of language application. The translation quality of vocabulary will directly affect the translation quality of sentences and even paragraphs. Therefore, under the guidance of communicative translation theory, this summary mainly analyzes the translation of words in The Pure Man and The Goat Family by adopting the strategies of translation modification and meaning extension on the basis of following the Chinese expression and diction habits and considering the understanding ability of Chinese readers.&lt;br /&gt;
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4.4.1 Transliteration&lt;br /&gt;
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The translation method refers to the conversion of parts of speech in the original text, such as changing nouns into verbs, adjectives into verbs, etc., so as to make the translation conform to the expression habits of the target language. Different languages have different linguistic phenomena and cultural backgrounds. In order to make the translation more in line with the language expression habits of The Chinese people and convey the correct meaning of the original text to The Chinese readers, every word in the Korean sentence cannot be translated dead, and some parts of speech in The Korean language have to be changed in translation.&lt;br /&gt;
&lt;br /&gt;
The following is a case study of translating a part of speech in the original text into another part of speech in Chinese.&lt;br /&gt;
Eg.1 :그럴 때의 아이는 이제 노인이 아니라 소년가장 같았다.&lt;br /&gt;
Translation：那一刻我觉得孩子不像老人，而像少年家长。&lt;br /&gt;
Translation：那一刻我觉得他不像一个历经沧桑的老人，而像一个饱经世故的孩子。&lt;br /&gt;
&amp;quot;소 년 가 장&amp;quot; is a noun, the author looked up Chinese dictionary, found &amp;quot;소 년 가 장&amp;quot; in Korean means &amp;quot;가 정 의 생 계 를 실 질 적 으 로 책 임 지 고, 어 렵 게 생 계 를 유 지 하 는 소 년&amp;quot;, at the beginning of translation, in accordance with the original literal translation is &amp;quot;young parents&amp;quot;, but is not in conformity with the Chinese expression habit, it is not easy to let Chinese readers understand, The author in the guidance of communicative translation theory, through the network search and found the dictionary lookup &amp;quot;소 년 가 장&amp;quot; and Chinese proverb &amp;quot;the poor children early master&amp;quot; has the same effect, but here can make statements impassability, in order not to cause the reader to understand the problems, the author give full play to the advantages of the Chinese, the author by using the method of adaptation, Phrases collocation and considering the Chinese habit, the term &amp;quot;소 년 가 장&amp;quot; divided &amp;quot;소 년&amp;quot; and &amp;quot;가 장&amp;quot; two nouns, and the term &amp;quot;가 장&amp;quot; translated into adjectives &amp;quot;world&amp;quot;, the &amp;quot;소 년&amp;quot; translated into &amp;quot;children&amp;quot;, both to convey the meaning of the original, and can make readers easily understand the content.&lt;br /&gt;
Eg. 2：거기에 아이가 자신을 만나려 하지 않기 때문에 돈을 주지 않는 것이라는 비난의 말이 반복해서 쓰여 있었기 때문이다.&lt;br /&gt;
Translation：文件上反复指责说孩子不想认他这个父亲，所以不给抚养费。&lt;br /&gt;
In the original text 비 난&amp;quot; is a noun, the author according to the original text in translation translated into &amp;quot;document and is accused of child, father didn't want to see him the accused, so not to support&amp;quot;, at the same time with the two accused, groundwork or at the back of the verb &amp;quot;blame&amp;quot;, also make the repetitive, so the author under the guidance of communicative translation theory, When translated again, the noun &amp;quot;비 project-oriented&amp;quot; is translated into the verb &amp;quot;blame&amp;quot;, so that the translation is easy to understand.&lt;br /&gt;
Eg. 3：쓰러진 동식이 걱정돼서라기보다, 아버지에 이어 어느 자식에게도 마음의 의지처를 갖지 못한 엄마를 향한 가여움때문에 나는 서둘러 친정으로 출발했다.&lt;br /&gt;
Translation：我赶紧往娘家奔去的原因与其说我担心晕倒的东植，不如说是对母亲的怜悯，因为父亲去世后，母亲没有了任何心灵依靠。&lt;br /&gt;
Translation：我赶紧往娘家奔去，与其说是因为担心晕倒的东植，不如说是因为心疼和担心母亲，毕竟父亲去世后，母亲没有了任何精神依靠。&lt;br /&gt;
In the original text ‘가여움’ is a noun, means poor, unfortunately, at the beginning of translation according to the original meaning of the translation, but not read through the sentence before and after will find the rest of the sentence, read incoherent, then consider when they use the techniques, the noun form transformed into verbs, this sentence will be more smooth, does not leave obscure sense for readers.&lt;br /&gt;
Eg. 4：그때, 그날의 아침을 떠올리는 건 막내딸뿐일까. 막내 여동생과 우연히 시내에서 만난 둘째 아들은 동생이 커피를 두모금쯤 마시고는 오빠, 난 왜 자꾸, 그러니까 껀떡하면 그때가 생각나는지 몰라, 그날 아침 말이야, 했을 때, 내색할 수는 없는 익숙한 지겨움을 느꼈다.&lt;br /&gt;
Translation：好像只有小女儿记得那天早晨发生的事情。二儿子在城里偶然遇见了小妹，便一起坐进了咖啡馆，小女儿刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Translation：好像只有小妹记得那天早晨发生的事情。我在城里偶然遇见了小妹，便一起坐进了咖啡馆，小妹刚喝了两口咖啡就说：“二哥，好奇怪呀，为什么我偏偏总想起那天早上呢？说起那天早上，我心里总会产生一种难以形容的熟悉的厌倦感”。&lt;br /&gt;
Full text with the third perspective in telling the story of a family, at the beginning of the author in the translation, in the original &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot;, &amp;quot;둘 째 아 들&amp;quot; literal translation, the whole piece down not only give readers relationship chaotic feeling, experience and make the whole article, based on the theory of communicative translation, USES the change of translation, according to the relationship between the characters in the article, The noun &amp;quot;in the full text will 둘 째 아 들&amp;quot; changed into the first personal pronoun &amp;quot;I&amp;quot;, the &amp;quot;막 내 딸&amp;quot;, &amp;quot;막 내 여 동 생&amp;quot; translated into &amp;quot;kid sister&amp;quot;, and &amp;quot;큰 아 들&amp;quot;, &amp;quot;큰 딸&amp;quot;, &amp;quot;둘 째 딸&amp;quot; and &amp;quot;둘 째 아 들&amp;quot; respectively translated into &amp;quot;eldest brother&amp;quot;, &amp;quot;big sister&amp;quot;, &amp;quot;two sisters, strengthens the relationship of the characters in the article connected - At the same time, it also shortens the distance between the original text and the translated readers, enhances the affinity of the novel, and creates a story-oriented and readable reading atmosphere for readers.&lt;br /&gt;
4.1.2 Extension of meaning&lt;br /&gt;
Extension translation method is refers to according to the specific context of contact and words in the original context, starting from the basic meaning of Korean original words, through the letter of the word or phrase in the sentence, its excellent implied meaning appropriately, use some conforms to the Chinese expression habit of character words, the content of the original essence of accurate expression.&lt;br /&gt;
Eg.5 ：①텔레비전을 쳐다보던 아이가 대뜸 내밷었다.&lt;br /&gt;
②동식이 집을 나서자마자 엄마는 휴이히히히, 하는 기괴한 한숨을 길게 내뱉었다.&lt;br /&gt;
Translation：①正在看电视的儿子突然吐槽道：“妈，你快看，电视里那个人真像我爸”。&lt;br /&gt;
②母亲就“唉！”长长地叹了一口气。&lt;br /&gt;
The author by looking up the dictionary, in the original &amp;quot;내 밷 다&amp;quot; has two meanings: (1) 입 안 에 있 던 것 을 입 밖 으 로 뱉 어 내 보 내 다. (2) 마 음 에 내 키 지 아 니 하 거 나 못 마 땅 한 어 조 로 불 쑥 말 하 다. Chinese meaning is &amp;quot;vomit, and said,&amp;quot; the author under the guidance of communicative translation theory, reader's expressions and words in Chinese habit as the center, contact the original context and context, considering the words collocation, adopt the method of the extension, the &amp;quot;내 밷 다&amp;quot; translated into &amp;quot;fun&amp;quot; and &amp;quot;sigh&amp;quot;, not only conforms to the present context, and in accordance with the Chinese language habits.&lt;br /&gt;
10: ①그러니까 엄 그러니까 엄 는 내 if 돈 얘기 wish to be added&lt;br /&gt;
것 taitei wish 렐.&lt;br /&gt;
②형 taitae 옆구 wish 를 툭 치며.&lt;br /&gt;
③까지는 살큼 익 罚 서 찬지름 치 서 찬지름 치 조선간 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 서 찬지름 치 doctor Infoequalizer&lt;br /&gt;
原 文 : ① But mother seemed to have read my mind and gagged me first.&lt;br /&gt;
② The eldest brother poked me with his elbow.&lt;br /&gt;
③ When steamed seven or eight cooked, sprinkle with sesame oil and mix it well, which is better than those meat food.&lt;br /&gt;
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===3.2 The application of communicative translation theory at the sentence level===&lt;br /&gt;
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===3.3 The rhetorical application of communicative translation theory===&lt;br /&gt;
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===4 conclusion===&lt;br /&gt;
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=毛雅文On Translation Strategies and Methods in Chinese Translation of English Prose --- Chinese Translation of Robert Lynd’s ''Pleasures of Ignorance'' as an example=&lt;br /&gt;
[[Trans_Type_EN_4]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Prose, together with poetry, novel and drama, is a kind of literary form. It is not limited to rhythm, plot and characters, flexible in form, real and natural. English prose has a long history and various types, so it becomes an important object in translation practice and research. In China, the most famous English prose writers are Francis Bacon and Charles Lamb, hence, their works can be regarded as the focus of studies on Chinese translation of English prose. In fact, Chinese translation of English prose draws less attention in translation circle of China, compared with that of English poetry and drama. With English prose as the starting point, this paper will introduce the characteristics of English prose and the domestic studies on its Chinese translation, and take the Chinese translation of ''Pleasures of Ignorance'', the representative work of English modern prose writer Robert Lynd, as an example to analyze its translation strategies and methods.&lt;br /&gt;
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===Key Words===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
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This chapter will point to the research background and its significance, and briefly set forth the structure of this paper and the methods used.&lt;br /&gt;
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'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
In recent years, with the deepening of the reform and opening-up, the channels of international cultural exchange have become increasingly unblocked, and China's translation industry has also flourished. The studies on translation theory, drawing lesson from western translation studies, have yielded fruitful results, and more noteworthily, remarkable achievements have been made in studies on literary translation for all to see.&lt;br /&gt;
Prose is a basic literary form in written or spoken language that typically exhibits a natural flow of speech and grammatical structure. A large number of works in philosophy, history, economics, journalism, etc, are examples of works written in prose. It can be seen that prose, which is widely used for creation, occupies an important position in literature. However, there are few researchers majoring in prose translation, still fewer ones who specialize in Chinese translation of English prose. In view of the above, this paper, based on previous studies, will study the Chinese translation of English prose, and take the Chinese translation by Liu Bingshan of ''The Pleasures of Ignorance'' created by the English prose writer Robert Lynd, exploring its characteristics in translation strategies and methods, so as to provide better understanding and some reference for the appreciation and translation of English prose.&lt;br /&gt;
&lt;br /&gt;
'''Methodology and Structure'''&lt;br /&gt;
&lt;br /&gt;
This paper will employ the methods of literature research and case analysis. The paper consists of three parts. The first section is literature review, explicating the distinctive properties and linguistic features of English prose, and the prose translation with its principles, as well as introducing the previous studies on Chinese translation of English prose at home. The second part, the core of this paper, will take Liu Bingshan's Chinese translation version of Robert Lynd's prose work ''Pleasures of Ignorance'' as an example, carry out the interpretation of this translation in terms of its types, styles as well as strategies and methods employed. Lastly, the conclusion will point to the findings in this study and the weaknesses in the paper.&lt;br /&gt;
&lt;br /&gt;
===Literature Review===&lt;br /&gt;
&lt;br /&gt;
This part will draw into the domestic previous studies on Chinese translation of English prose.&lt;br /&gt;
&lt;br /&gt;
With regard to Chinese translation of English prose, at present, there are few domestic scholars dedicated to its systematic research. According to the different perspectives,  the relevant researches at home can be roughly divided into three categories.&lt;br /&gt;
&lt;br /&gt;
First, concerning research on the theory of Chinese translation of English prose into Chinese, there are relatively small number of studies in this direction. One of the most fruitful works is ''The Study and Translation of British and American Prose'' co-authored by Zhao Xiuming and Zhao Zhangjin (2010), which makes a detailed investigation of the literary characteristics, historical evolution and style evolution of British and American prose. The work also discusses the basic principles of English prose translation in terms of pre-translation text analysis, historical and cultural context, artistic principles, and styles, etc., which can offer a reference for the further study of the theories and practices of English prose translation.&lt;br /&gt;
&lt;br /&gt;
Second, regarding research on the famous translators of English and American prose with their translation styles and skills, Xia Ying explored the style of Professor Cao's translation of Francis Bacon with the essay titled &amp;quot;Research on Professor Cao Minglunss Chinese translation of bacon prose&amp;quot;. (Xia Ying, 2012:165-166) Some others probed into Liu Bingshanss and Li Shicong’s thoughts on prose translation which have guiding significance for prose translation practice.&lt;br /&gt;
&lt;br /&gt;
Third, as regards research on the practice of Chinese translation English prose based on translation theory, Huang Jianling (2021) analyzed the Chinese translation of Bacon's essays from the perspective of translation aesthetics. Hu Hongyun (2013) translates and elaborates on the British prose Farewell in vocabulary, semantics, style and cultural transmission, on the basis of Eugene Nida's Functional Equivalence theory.&lt;br /&gt;
&lt;br /&gt;
===Overview of English Prose===&lt;br /&gt;
&lt;br /&gt;
Prose can be defined in broad sense and in narrow sense. In broad sense, prose refers to all the written and oral works in a loose form free from parallelism; and in narrow sense, it specifically means the writings with certain literary qualities, such as essays, and a literary genre juxtaposed with poetry, novel, drama and movie-television literature.&lt;br /&gt;
&lt;br /&gt;
'''Distinctive Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
As an independent literary genre, English prose has its own distinctive characteristics.&lt;br /&gt;
&lt;br /&gt;
The first characteristic is its expression of sincere feeling. Prose mostly depicts the real people, things and scenery, and is generated based on record and recollection of life. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. With prose, the author frequently describes his or her personal experiences, which expresses the feelings full of personal traits and style. So in this sense, prose can be considered as an earnest conversation between the author and the readers.&lt;br /&gt;
&lt;br /&gt;
Secondly, English prose is characterized by the wide material selection. In English prose, one detail, episode and facet of life can be used to display the author’s specific emotions and circumstances, and all materials related to the theme can also be employed. It places no emphasis on rhythm and rhyme, like poetry, as well as to plot and characters, like drama.&lt;br /&gt;
&lt;br /&gt;
Besides, English prose features the free and loose structure. The structure of prose writings is free and flexible. Prose is elastic and natural and boasts descriptive, argumentative and lyrical qualities, thereof constituting its most distinctive advantage. There are no strict restrictions and fixed patterns in the prose structure, but its flexibility and randomness is not tantamount to disorder and scatter, and its choice of theme and expression of feelings should be closely centered on one main line.&lt;br /&gt;
&lt;br /&gt;
'''Linguistic Features of English Prose'''&lt;br /&gt;
&lt;br /&gt;
Compared with other literary forms, prose has no more skills to resort to. Therefore, as regards the form of artistic expression, English prose mainly has recourse to its own language features.&lt;br /&gt;
&lt;br /&gt;
First and foremost, succinctness and fluency characterize English prose language. The concise prose language not only fully delivers the content that the author intends to convey, but effectively shows the author's emotions and attitude towards persons and things. This is not the result of the author's deliberate elaboration, but the natural overflow of his or her plain and pure emotion. The fluency of prose language refers to both the informal use of words and phrases, and the author's sound expression of feelings.&lt;br /&gt;
&lt;br /&gt;
Meanwhile, colloquial style and literary grace are characteristic of prose language. As prose mainly focuses on description of the author's personal stories and sentiments, thus, he speaks or writes with his own posture, style and tone, as if he is confiding to the readers, so as to highlight the agreeable conversation style and unique colloquial style. Colloquial prose language is natural due to its simplicity, friendly owing to its ease of communication, and true thanks to its individuality.&lt;br /&gt;
&lt;br /&gt;
Furthermore, another linguistic feature of English prose is the smooth rhythm and reading. The rhythmic beauty of prose language is reflected in phonetic respect and in sentence patterns. The prose reading is catchy, with no obstacles and awkwardness, and its rhythm is in line with the natural law of oral breathing pauses as well as with the ups and downs of feelings.&lt;br /&gt;
&lt;br /&gt;
'''Principles of English Prose Translation'''&lt;br /&gt;
&lt;br /&gt;
The beauty of prose lies in its language and artistic conception, the two permeating each other and jointly creating the artistic charm of prose. In prose translation practice, the following principles can be observed to reproduce the artistic appeal.&lt;br /&gt;
&lt;br /&gt;
Keep an eye on sound and rhythm. Despite that the sound and rhythm of prose are often internal, not as obvious, regular and musical as that of poetry, they are not disordered with no aesthetic purpose. On the contrary, they effectively represent the variation of emotion in the prose, and are consistent with its unique aesthetic interest. This illustrates that in prose translation, on the one hand, the translators should recognize the great value and significance of prose sound and rhythm; on the other hand, with the intention of reproducing the linguistic subtleties of the original text, the translators can fully touch its aesthetic interest from the cadence between the lines, and perceive its inner rhythm from sentence length and speech speed.&lt;br /&gt;
&lt;br /&gt;
Pay attention to personalized mode of discourse. Different writers with various discourse modes bring about manifold writing styles. Not only is the personalized mode of discourse reflected in the author's choice of words and sentences as well as layout of the prose, but also in his thoughts and aesthetic interest. As a result, the translators can start with analyzing the original writer's one classic work and then his anthology and even look closely at the literary features of his age, in order to grasping the writer's personalized discourse mode, which is of particular importance to reproduce his artistic personality and the characteristics of his emotional expression in translation practice.&lt;br /&gt;
&lt;br /&gt;
Place a premium on the unity of scene and emotion. The unity of scene and interest in prose is embodied in diverse ways of language expression and structure, as well as the images or settings created by the author. In translation practice, based on the unity of scene and interest in the prose, it is beneficial to preserve and reproduce the overall aesthetic orientation of the original text through aesthetic reconstruction in word selection and layout, so that the translated text can obtain the aesthetic taste similar to the original prose.&lt;br /&gt;
&lt;br /&gt;
===Case Study of Chinese Translation of ''Pleasures of Ignorance''===&lt;br /&gt;
&lt;br /&gt;
The selected source text is ''The Pleasures of Ignorance'', written by Robert Lynd. &lt;br /&gt;
&lt;br /&gt;
Robert Lynd (1879-1949), born in Belfast, Northern Ireland, was a modern critic and prose writer. He, together with E. V. Lucas, was a pioneer in reviving the tradition of Charles Lamb's prose. And The Pleasures of Ignorance is one of his notable prose works.&lt;br /&gt;
&lt;br /&gt;
This prose points out that it is because ignorance that people are interested in the nature and the world and their pursue knowledge, and the process of seeking knowledge is full of pleasure, by which the author emphasizes the importance of learning more and gaining insight. The article reveals somewhat erudition and aesthetic sensibility, as well as love for nature and and passion for life. From his leisurely writing, the author's maturity of thought and capability in usage of words is unveiled. Though the tone of the original text makes the readers feel that the author is chatting with them, giving people familiarity and closeness, it is not particularly colloquial. On the contrary, there is a kind of exactness and elegance of the learned between the lines, thus it can be seen that the case text is a typical scholar prose.&lt;br /&gt;
&lt;br /&gt;
The translator Professor Liu Bingshan firmly grasps these features of the original text and conveys the original style by carefully choosing words and sentences, with the principles of faithfulness, smoothness and expressiveness. His Chinese translation of ''The Pleasures of Ignorance'' will be analyzed in terms of translation strategies and methods.&lt;br /&gt;
&lt;br /&gt;
There is the natural connection between translation strategies and translation methods, but the two concepts are often confused. It is generally believed that translation strategies (such as foreignization and domestication) are at the cultural level, while the translation methods (such as literal translation and free translation) are at the textual level. According to Xiong Bing, (2014: 83-86) translation methods are the approaches, steps and techniques used to achieve a specific translation purpose based on a certain translation strategy in translation activities, whereas translation strategies are a collection of principles and methods. Consequently, this paper will enunciate the translation text on the basis of translation methods under foreignization strategy and domestication strategy respectively.&lt;br /&gt;
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====Translation Methods under Foreignizing Strategy====&lt;br /&gt;
&lt;br /&gt;
Foreignization is a strategy in which a target text is produced which deliberately breaks target conventions by retaining something of the foreignness of the original. The translation methods under foreignization employed in Professor Liu's target text include literal translation, zero-translation and transliteration.&lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is in fact looser renditions that replace individual source language words with individual target language wors wherever possible, and cling as closely as possible to the source language word order in the target language. Specifically, in the case translation text, the translator faithfully retains some personal pronouns and demonstrative pronouns in the original text. For example, &lt;br /&gt;
&lt;br /&gt;
(1)&amp;quot;our lives&amp;quot; 我们的一生&lt;br /&gt;
&lt;br /&gt;
(2)&amp;quot;This ignorance&amp;quot; 这种无知&lt;br /&gt;
&lt;br /&gt;
(3)&amp;quot;your and my ignorance&amp;quot; 你我的无知&lt;br /&gt;
&lt;br /&gt;
The use of literal translation, especially the retaining of the personal pronouns, like &amp;quot;we&amp;quot; and &amp;quot;you and I&amp;quot;, conveys the style of the original text, showing friendliness and intimacy.&lt;br /&gt;
&lt;br /&gt;
=====Zero-Translation=====&lt;br /&gt;
&lt;br /&gt;
Zero translation refers to the translation in which the translators do not use the ready-made words in the target language to translate the source language words. This translation phenomenon occurs when adjustments must be made due to the differences in the syntactic structures of the two languages. For example, some articles and personal pronouns are not translated in E-C translation. In Professor Liu’s Translation, zero-translation is particularly displayed by omission, a translation technique. For instance,&lt;br /&gt;
&lt;br /&gt;
Omission of the expletives ''It'' and ''There'':&lt;br /&gt;
&lt;br /&gt;
(4)''It'' is impossible to take a walk in the country oneself without being amazed at the vast continent of one’s own ignorance.&lt;br /&gt;
&lt;br /&gt;
任何人独自到乡下去走一走，他对于自己的无知范围之广阔，都不能不感到惊奇。&lt;br /&gt;
&lt;br /&gt;
(5)''There'' are occasions on which a memory of this kind is an affliction, especially if one has a passion for accuracy.&lt;br /&gt;
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这样的记忆力，在某些场合自然叫人伤脑筋，尤其当人渴望精确的时候。&lt;br /&gt;
&lt;br /&gt;
Omission of English articles:&lt;br /&gt;
&lt;br /&gt;
(6)Thousands of men and women live and die without knowing the difference between ''a'' beech and ''an'' elm, between ''the'' song of ''a'' thrush and ''the'' song of ''a'' blackbird.&lt;br /&gt;
&lt;br /&gt;
成干上万的男男女女，从生到死，一辈子也说不出山毛榉和榆树有什么区别，听不出画眉的叫声和山乌鸦的叫声有什么不同。&lt;br /&gt;
&lt;br /&gt;
Omission of pronouns:&lt;br /&gt;
&lt;br /&gt;
(7)... as she (the cuckoo) lays ''her'' egg on the ground and takes it in ''her'' bill to the nest in which it is destined to breed infanticide.&lt;br /&gt;
&lt;br /&gt;
把蛋下到地面上，然后再用尖嘴把它叨进那注定要发生杀婴罪行的窠巢里。&lt;br /&gt;
&lt;br /&gt;
The application of zero-translation can render the translation text concise, neat and fluent, and make the rhythm of the prose more natural and flexible, conforming to the principle of prose translation.&lt;br /&gt;
&lt;br /&gt;
=====Transliteration=====&lt;br /&gt;
&lt;br /&gt;
Proper names such as the names of persons and places of foreign countries, are, as a rule, to be transliterated, i.e., to be translated by using Chinese characters to represent the sound in articulating these names.&lt;br /&gt;
&lt;br /&gt;
In transliteration, the translators should follow the original pronunciation of proper names, in Liu's translation, for example,&lt;br /&gt;
&lt;br /&gt;
(8)Hamlet 哈姆雷特 Pickwick 匹克威克 (both transliterated from English)&lt;br /&gt;
&lt;br /&gt;
Besides, in transliteration, the translators sometimes should also use the standard pronunciation of the Chinese characters. One of the difficulties in transliterating a foreign name in Chinese characters lies in the lack of many foreign sounds in Chinese, and the variation in the pronunciation of the Chinese characters causes confusion. The remedy is to fix certain Chinese characters for a certain syllable of foreign names, for example, in the translation in case study,&lt;br /&gt;
&lt;br /&gt;
(9)Montaigne 蒙田 (not 蒙泰涅)&lt;br /&gt;
&lt;br /&gt;
Transliteration plays a crucial role in translation of proper nouns and technical terms, which ensures the correct conveyance of information.&lt;br /&gt;
&lt;br /&gt;
The translation methods under foreignization are able to make the translation process more visible, by means of showing how translators are deeply involved in the construction of culture and ideology. The use of these methods can retain the foreignness of the source text and produce on the target-language readers an effect as close as possible to that obtained on the readers of the original, through which the readers can further understand the foreign expressions and cultures, realizing the differences between the two countries.&lt;br /&gt;
&lt;br /&gt;
====Translation Methods under Domesticating Strategy====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
=毛优 Analysis of translation strategies and methods for political eassays --- A Case Study of Annual Summary of the Russian Government's Work of 2019=&lt;br /&gt;
[[Trans_Type_EN_5]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
According to the Russian Constitution, every spring the Prime Minister of Russia is required to present to the State Duma an annual summary of the government's work, including a description of what Russia has accomplished in the past year in different areas , the challenges encountered, and the government's plans and goals set for the new year. The annual summary of the Russian government's work is one of the ways to know the development and future plans of Russia and the important document for studying Russia.This type of text belongs to the category of political essays. Therefore, it is important to master the translation strategies and methods of political essays.This paper takes the &amp;quot;Annual Work Summary of the Russian Government in 2019&amp;quot; as a study case, and the author uses the existing translation theories and methods as a guide to work on the translation, and summarizes some of his own experiences in the translation process, hoping that this paper can be helpful for the same type of translation research work.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Russia;Translation strategies and methods;Political essay;The Annual Summary of government's work&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The form of annual summary of the Russian government's work started in the Soviet period. Since the formation of the Soviet Union, at each congress of the High Council the head of the government would make a summary, which contained information about the situation of the accomplishment of government work and the problems encountered in various areas during the past year, as well as the plans and goals of the government for the new year. Such government summary has continued to the present day in Russia. &lt;br /&gt;
&lt;br /&gt;
The report on the work of the Russian government is not only the routine work of the prime minister, but also one of the ways for Russians and the whole world to understand the development and future of Russia. Thus, the annual government report can be described as an important document for the study of Russia. &lt;br /&gt;
&lt;br /&gt;
The government report belongs to the political essay style. In recent years, the political essay in Russian has been studied in increasing numbers. This mainly includes the following aspects: ①the features of this style; ②stylistics; ③translation strategies from Russian to foreign languages.&lt;br /&gt;
&lt;br /&gt;
Nowadays, quite a few native and foreign researchers are working on the research of this topic. For example, in the thesis &amp;quot; The Pronunciation Features of the political style of speech&amp;quot; (Veshchikova I. A.,1994) the author tells about the heterogeneity of literary language and one of the forms of its existence - the political style of speech and features of the organization of its phonetic varieties; And the article &amp;quot;Structural, semantic and functional features of references in the political style of Russian language&amp;quot; (Mizin O.A.,1973 ) was devoted to the characteristics of speech in publicist articles; also the book &amp;quot;Political style: new features&amp;quot; (E.M. Lazutkina,2008), and a textbook for students &amp;quot;Social-political style of speech&amp;quot; (Shvets A.V.,1984)and so on. Meanwhile, the results of Chinese researchers should be noted. For example, Wang Yingying(王莹莹), a graduate student of Heilongjiang University, wrote a paper in which the author summarized the features and ways of translation of phrases and expressions used in political essays. In addition, the textbook &amp;quot;Course of Translation from Russian to Chinese&amp;quot; (蔡毅，2009) edited by Cai Yi (蔡毅). In it, many example sentences come from the political essays. &lt;br /&gt;
&lt;br /&gt;
The following research methods are used in writing this paper:&lt;br /&gt;
1. Gather theoretical materials related to the selected topics;&lt;br /&gt;
2. Use relevant books on translation theories and underline specific sentences in the source text that use a particular translation theory;&lt;br /&gt;
3. Discover problems, solve problems, and generalize translation experiences.&lt;br /&gt;
&lt;br /&gt;
The paradigm in this paper -- “The Annual Summary of the Russian Government's Work of 2019”.&lt;br /&gt;
&lt;br /&gt;
The object of the paper -- the features of the political essays, translation theories and methods used during the translation of the source text and the experience gained during the translation.&lt;br /&gt;
&lt;br /&gt;
===Overview of Annual Summary of the Government's Work===&lt;br /&gt;
There are three types of government reports:State of the Union address, political speeches, and the report of the government on its performance. The first two began in the United States and the last in the Soviet Union. Since the formation of the Soviet Union, at each congress of the Soviet High Council, the head of the government would make a report that contained information about the situation of the government's work performance and the problems encountered in various areas over the past year, as well as the government's plans and goals for the new year. Such government reports continue to this day in Russia. Such a report on work of the government was learned in our country and has been used since 1954.&lt;br /&gt;
&lt;br /&gt;
====Definition of Annual Work Summary by Government====&lt;br /&gt;
According to the Russian constitution, every spring, the Russian Prime Minister must submit to the State Duma a report on the work of the government in order to detail the performance of various work in the past year, the goals for further development in various areas, as well as the opportunities and challenges faced in the areas like economy, politics, diplomacy, population, education, and so on. The report on the work of the Russian government for the year, as a rule, consists of three parts:&lt;br /&gt;
&lt;br /&gt;
① Overview of the main work of the government of the past year：&lt;br /&gt;
It is necessary to summarize the main work of the government for the previous year, achievements in various areas and the realization of major goals, and then to detail each specific achievement of the work.&lt;br /&gt;
&lt;br /&gt;
② Work tasks for this year：&lt;br /&gt;
Draw up the government's work plan in detail for this year and the main goals. At first, explain the main ideas and main tasks of the government's work this year, then divide the work into several categories and explain in detail the measures the government needs to take.&lt;br /&gt;
&lt;br /&gt;
③ The government's own planning:&lt;br /&gt;
Explain the construction plan for the government.&lt;br /&gt;
&lt;br /&gt;
====The features of political essays（Take Chinese government reports for example）====&lt;br /&gt;
1．At discourse level&lt;br /&gt;
&lt;br /&gt;
①Repeated references to the same things&lt;br /&gt;
&lt;br /&gt;
a. 2010 GWR:积极 45;大力31;全面30;着力16;切实17;有效9;充分8 发展 146，建设87，加强67 促进42&lt;br /&gt;
&lt;br /&gt;
b. 2009 vs 2010: 增强 19-18;加大23-56;加快44-56&lt;br /&gt;
&lt;br /&gt;
②Unnecessary modifiers&lt;br /&gt;
&lt;br /&gt;
a.更加周密地做好应对各种风险和挑战的准备。&lt;br /&gt;
Make even more thorough preparations to deal with risks and challenges of all kinds. &lt;br /&gt;
&lt;br /&gt;
b.无比优越 &lt;br /&gt;
incomparable superiority&lt;br /&gt;
&lt;br /&gt;
c.就事关当今世界、事关双边关系的一些全局性和长期性重大问题深入交换意见.&lt;br /&gt;
(we)have been engaged in in-depth exchange of views with them on important overarching and long-term issues concerning the world situation and bilateral relations.&lt;br /&gt;
d.我们几代、十几代甚至几十代人想的一件事，要做的一件事，是我们100年、1000年也不会动摇的一个方针。&lt;br /&gt;
This is what we must focus on and achieve-not just this generation but for generations to come. This is the policy that will not change in 100 years or 1,000 years.&lt;br /&gt;
&lt;br /&gt;
2.At sentence level&lt;br /&gt;
&lt;br /&gt;
①Long sentences&lt;br /&gt;
经过三十多年的改革开放，我们从“以阶级斗争为纲”到以经济建设为中心，全面推进社会主义现代化事业;从搞计划经济到推进各方面改革，建立起社会主义市场经济体制;从封闭状态和片面强调自力更生，到实行对外开放、发展国际合作；从以意识形态划线到主张各种社会制度和发展模式和谐生存，全方位发展对外关系，中国的变化可谓天翻地覆。&lt;br /&gt;
More than 30 years of reform and opening up has brought about earth-shaking changes in the country: from &amp;quot;taking class struggle as the key principle&amp;quot; to focusing on economic development and building socialist modernization on all fronts, from planned economy to socialist market economy through reform across the board, from a closed society and over emphasis on self-reliance to opening up and international cooperation, from emphasis on ideology in external relations to advocating harmonious co-existence of various social systems and development models and developing external relations in an all-round way.&lt;br /&gt;
&lt;br /&gt;
②Subjectless sentences&lt;br /&gt;
如果我们不能很好地处理同外部世界的关系，新世纪头20年由国际形势总体和平，大国关系相对平稳和新科技革命迅猛发展提供的发展机遇就可能丧失。&lt;br /&gt;
lf we fail to manage well our relations with the rest of the world, we might miss the development opportunities provided by the overall peace in the world relative stability in relations between major countries and fast progress in new science and technology revolution in the first 20 years of the new century.&lt;br /&gt;
&lt;br /&gt;
③Parallel structure&lt;br /&gt;
a.总之，中国人穷日子过得太久了，最大的战略意图就是使自己的日子一天比一天、一年比一年过得好些，希望地球上的人们日子也一天比一天、一年比一年过得好些除此别无他图。&lt;br /&gt;
In a word, the Chinese people have suffered long enough from poverty. Our greatest and only strategic intention is to live a better life, where every day is better than the previous one. We wish the same for all the people in the world.&lt;br /&gt;
&lt;br /&gt;
b.买的放心，吃的放心，用的放心。&lt;br /&gt;
Buy food and drugs with confidence and consume them with satisfaction&lt;br /&gt;
&lt;br /&gt;
3.At word level&lt;br /&gt;
&lt;br /&gt;
①Unnecessary words&lt;br /&gt;
a.经济增速陡然下滑&lt;br /&gt;
The pace of our economic growth suddenly slowed down&lt;br /&gt;
&lt;br /&gt;
b.进一步落实好扶残助残的各项政策&lt;br /&gt;
Further implement policies for assisting and supporting them&lt;br /&gt;
&lt;br /&gt;
c.注重共同利益、发展共同利益、维护共同利益 &lt;br /&gt;
We value, develop and protect common interests&lt;br /&gt;
&lt;br /&gt;
②Terms with national characteristics&lt;br /&gt;
&lt;br /&gt;
a.小康社会 &lt;br /&gt;
well -off/ well-to-do/affluent/comfortable&lt;br /&gt;
&lt;br /&gt;
b.加快全面建设小康社会进程&lt;br /&gt;
Pick up the pace of building a moderatly prosperous society in all respects&lt;br /&gt;
&lt;br /&gt;
c.要使中国人民能过上小康社会的生活&lt;br /&gt;
To enable the Chinese people to live a comfortable life A society of initial prosperity&lt;br /&gt;
&lt;br /&gt;
d.以求同存&lt;br /&gt;
seeking common ground while shelving differences&lt;br /&gt;
&lt;br /&gt;
e.坚持奉行互利共赢的开放战略&lt;br /&gt;
we follow the win-win strategy of opening up&lt;br /&gt;
&lt;br /&gt;
③Figurative expressions&lt;br /&gt;
&lt;br /&gt;
a.metaphorical expression&lt;br /&gt;
&lt;br /&gt;
龙头企业 pacesetting enterprise&lt;br /&gt;
法宝 key&lt;br /&gt;
&lt;br /&gt;
b.metonymical expression 转喻&lt;br /&gt;
&lt;br /&gt;
米袋子 grain supply&lt;br /&gt;
各国唯有同舟共济而不是同舟共“挤”，同舟共渡而不是同舟共“斗”，才有出路。&lt;br /&gt;
Countries should consider themselves passengers in the same boat and cross the river peacefully together instead of fighting one another and trying to push one another off the boat.&lt;br /&gt;
&lt;br /&gt;
====Source text introduction====&lt;br /&gt;
&lt;br /&gt;
On July 22, Russian Prime Minister Mikhail Mishustin made a speech in the State Duma reporting on the work of the government for 2019.Among the main topics of the speech of the head of the Cabinet of Ministers were the fight against coronavirus infection, support and development of healthcare, education, labor market and housing construction, support of business and backbone enterprises, ensuring macroeconomic and financial stability. Mishustin called the main goal of the government to improve the quality of life of every person in the country. The Prime Minister stressed that the updated Constitution of the Russian Federation increases the responsibility of all branches of power. According to the head of the government, the Russian economy could make a breakthrough, but this was prevented by the pandemic and oil prices.&lt;br /&gt;
&lt;br /&gt;
===Strategies and methods used in the translation process===&lt;br /&gt;
&lt;br /&gt;
The first requirement for translating works of political style is to faithfully and accurately express the political and ideological content of the original, so that the translation has the same influential function as the original. In this chapter, based on the aforementioned theories and strategies, the author analyzed several translation options using examples from the report.&lt;br /&gt;
&lt;br /&gt;
====At Lexical level====&lt;br /&gt;
=====Addition=====&lt;br /&gt;
=====Omission=====&lt;br /&gt;
=====Conversion=====&lt;br /&gt;
====At Syntactical level====&lt;br /&gt;
=====Linear Order Translation=====&lt;br /&gt;
=====Reverse Order Translation=====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
=彭瑞雪 An analysis and comparison of the translation styles of two Chinese translations of ''Le Spleen de Paris''=&lt;br /&gt;
[[Trans_Type_EN_6]]&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Since the early twentieth century, there has been a steady stream of translations of Baudelaire’s work, the ‘demon poet’, and ''Le Spleen de Paris'' is another of Baudelaire’s classics, in addition to ''Les Fleurs du mal''. The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. The difference in the grounding of the translation will inevitably lead to differences in the translations. In this paper, we will select the Ya Ding’s and Guo Hong’an’s translations of ''Le Spleen de Paris'' and analyse and compare the two translations from the perspective of translation style in the light of Liu Miqing’s(刘宓庆) theory of translation style, so as to further understand and appreciate the main idea and thoughts of Le Spleen de Paris, further grasp the literary translation concepts of Guo Hong’an and Ya Ding, and further consider the applicability of Liu Miqing’s theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Translation Styles, Translation Strategies, ''Le spleen de Paris'', Guo Hong'an, Ya Ding&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
The chapters in ''Le Spleen de Paris'' can be as short as a few lines or as long as a dozen paragraphs, some in the form of dialogue, some narrative, and some descriptive, depicting modern life around everyday things, inner activities, philosophical reflections and urban landscapes. In this work, Baudelaire’s satire and sarcasm on the sordid, deformed reality of society are unrelentingly scathing and fierce in their attack on corrupt worldly habits.  The Ya Ding’s(亚丁) and Huai Yu’s(怀宇) translations consider ''Le Spleen de Paris'' to be prose, while Qian Chunqi(钱春绮), Xing Pengju(邢鹏举) and Guo Hong’an(郭宏安) translate it as prose poems. Different views towards translation determine the differences in translation strategies and methods, which in turn lead to different translation styles. In this paper, we will select Ya Ding’s translation and Guo Hong’an’s translation and analyse and compare the translation styles of the two translations in the light of Liu Miqing’s（刘宓庆） translation style theory.&lt;br /&gt;
&lt;br /&gt;
To begin with, the first part of the thesis will briefly introduce Liu Miqing’s theory of translation style. In the second part of the paper, according to form and content of text, a number of prose or prose poems will be selected from ''Le Spleen de Paris''. Through textual analysis, we will discuss Gou Hong’an and Ya Ding’s grasp of the style of the original text from the perspectives of formal markers and non-formal markers and approach the differences between the translation styles of the two translations. In terms of formal markers, we will analyse and compare the texts from the perspective of register markers and lexical markers; in terms of non-formal markers, we will explain the texts from the perspective of the inner thoughts and feelings of the work and the spirituality of the writer. The third part will explore the stylistic translation devices of the two translations, citing examples from the standpoint of rhetorical devices, sentence structure and punctuation, and then summarise the translation views of both Guo Hong’an and Ya Ding in relation to the synthesis principles of style translation. Thereby, we expect to gain a further appreciation of the main idea and thoughts of Le Spleen de Paris, a better understanding of Ya Ding’s and Guo Hong’an’s views on literary translation, and further reflection on the applicability of Liu Miqing's theory of translation style.&lt;br /&gt;
&lt;br /&gt;
===1 Liu Miqing’s theory of translation style===&lt;br /&gt;
Literary style often gives the impression of being elusive and difficult to grasp, but in Liu Miqing’s view, literary style is both graspable and translatable, and the key to stylistic translation lies in the adaptability of the style of the original work. A grasp of the style of the original is the groundwork for a stylistic translation, “only when the translator analyses the structure of the original text and combines it with the aesthetic activity of a vague collection of non-formal markers can the style of the text become visible, thus making the meaning of style knowable”(刘宓庆 240). In order to comprehend the style of the original text, the translator must grasp the system of stylistic markers, which includes the Form Markers and the Non-Formal Markers. The Formal markers are intuitive and capture style from a linguistic perspective, including six types of markers: Phonological Markers, Register Markers, Lexical Markers, Lexical Markers, Textual Markers, Lexical Markers, Textual Markers and Markers of Figures of Speech. Non-formal markers are non-intuitive and capture style from an aesthetic point of view, which means that in the process of translation the translator also has to take into account “elements that are imaginative or psychological and affective ”(刘宓庆 249). The non-formal marker style symbol system consists of three aspects: the writer’s choice and treatment of the subject matter, the inner thoughts and feelings of the work and the writer’s spirituality, and the integration of the recipient’s vision.&lt;br /&gt;
&lt;br /&gt;
Liu Miqing states that there are three means of translation of style. The first is Corresponding, which is a correspondence to the original language’s style marker system, namely, to grasp the formal and non-formal markers of the original language and imitate it. The second is Recasting, which is the re-creation of style. This re-creation is usually based on four main grounds: the lack of a style marker system in the target language corresponding to the original; the fact that the style of the target language imitating and copying the original is hardly acceptable to contemporary readers as the chronology changes; the need to make communicative function and utility; and the inevitability of cultural differences. Thirdly, Decoloring or Generalizing, where a linguistic and cultural barrier that cannot be crossed compels the abandonment or partial abandonment of stylistic meaning in order to ensure the communicative function of the language.&lt;br /&gt;
&lt;br /&gt;
In addition, Liu Miqing proposes five principles of style translation: the principle of adaptability, the principle of recipient, the principle of hierarchy, the principle of synthesis and the principle of the limits of translatability. In the following discussion, we will refer to the principle of adaptability and the principle of synthesis. The principle of adaptability means that the aim is to adapt to the style of the original language, “the translator must carefully analyse the formal and non-formal markers of the original text, pay attention to the degree of adaptation of the correspondence in a comparative bilingual study, and try to find the appropriate bilingual counterpart ‘value’”(刘宓庆 261). The principle of synthesis refers to the fact that style is a multi-layered synthesis, and that translations will reflect a variety of stylistic translation devices at the same time.&lt;br /&gt;
&lt;br /&gt;
===2 Analysis and comparison of translation styles===&lt;br /&gt;
According to the form and content of the chapters, we have selected four prose or prose poems from Le Spleen de Paris as a foundation for a specific analysis and comparison of the translation styles of the two texts. ''L’Étranger'', a novel and unusual form for poetry or prose, consists of 15 lines and is a dialogue based on the question “Who do you love most?” ''Chacun sa chimère'', a highly symbolic piece of six short paragraphs, in which Baudelaire poignantly captures the existential and spiritual plight of the 19th century in general; ''In Le Chien et le flacon'', the language is emotionally powerful, mapping people's insensitivity and satirising society’s reversal of black and white by writing about dogs’ identical attitudes to both perfume and faeces, while the two translators’ translations present different styles of satire; ''Envirez-vous'' has three paragraphs with short sentences and the content is mainly emotional, yet the two translations are very different in form: Guo’s translation is similar to the original in form, translated into three short paragraphs, while the form of Ya Ding’s translation is closer to poetry, with eight stanzas in total.&lt;br /&gt;
&lt;br /&gt;
====2.1 Register Markers: “elegant” and “vulgar”====&lt;br /&gt;
“Register (or domain of use) refers to the range of words use, and words circulating in a particular range of use often have common features”(刘宓庆 242). From a genre point of view, ''Le Spleen de Paris'' is a literary work in which the language should belong to the written language. However, the two translators differ in their judgement on this point of written language for two reasons. On the one hand, some of the texts are in the form of dialogues, and since they are printed texts, it is logical to choose to translate them into written language, but as they are dialogues, it is also reasonable to decide to translate them into spoken language. On the other hand, the two translators position the work differently in terms of genre, with Guo Hong’an considering the book to be a collection of prose poems and Ya Ding considering it to be a collection of prose. The different genres naturally have different registers; prose poetry is more poetic than prose, and poetic means that the use of words is relatively more concise and ‘elegant’; in prose the use of words is relatively freer and more ‘vulgar’. It should be noted that the terms ‘elegant’ and ‘vulgar’ here refer to the dignity and simplicity of the diction, respectively. The former means that the diction is closer to the written word, while the later means that the diction is closer to the spoken word. There is a clear difference between Guo Hong’an’s translation and Ya Ding’s translation in terms of the “elegance” and “vulgarity” of the words used, which we will then illustrate with examples.&lt;br /&gt;
&lt;br /&gt;
1.1.1《异乡人》与《陌生人》&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s Inscription of the Monastery of the Huqiu Temple in Suzhou (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s Farewell to Xucai Li on the River (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”. However, in ancient Chinese, the use of“陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel The Case of Pao Gong (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel The Mirror and the Flower (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
The title “L’Étranger” is translated by Guo Hong’an as “异乡人” and by Aden as “陌生人”. In English, there is no distinguishing between these two words, both meaning “stranger”, but in Chinese they are not the same. The term “异乡人” has a long history, and has been used in ancient Chinese poetry, for example in the poem ''The night of the New Year’s Eve'' (《岁除夜有怀（一题作除夜）》) by the Tang poet Meng Haoran(孟浩然), in which he says, “乱山残雪夜，孤烛异乡人”, and in Xu Hun(许浑)’s ''Inscription of the Monastery of the Huqiu Temple in Suzhou'' (《题苏州虎丘寺僧院》), in which he says, “暂引寒泉濯远尘，此生多是异乡人”, and in Wei Zhuang(韦庄)’s ''Farewell to Xucai Li on the River'' (《江上别李秀才》), he says, “莫向尊前惜沈醉，与君俱是异乡人”[1]. However, in ancient Chinese, the use of “陌生人” is less common and occurs mainly in more secular and colloquial works, such as in the Ming dynasty novel ''The Case of Pao Gong'' (《包公案》), in which there is “王氏对陌生人，未知好歹”, and in the Qing dynasty novel ''The Mirror and the Flower'' (《镜花缘》), in which there is “连我们自己的丫鬟都认不清楚；到了陌生人眼里那里还看得出”[2]. In contrast, the former is closer to the written word, more poetic and “elegant”, while the latter is closer to the spoken word and more “vulgar”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
E.g. (a)&lt;br /&gt;
&lt;br /&gt;
Original text： « Qui aimes-tu le mieux, homme énigmatique, dis ? ton père, ta mère, ta sœur ou ton frère ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“你最爱谁，谜一样的人，你说？父亲，母亲，姐妹，还是兄弟?”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——喂！你这位不可猜测的人，你说说你最爱谁呢？你父亲还是你母亲？姐妹还是兄弟？&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Je n’ai ni père, ni mère, ni sœur, ni frère.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我没有父亲，没有母亲，没有姐妹，没有兄弟。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——哦……我没有父亲也没有母亲，没有姐妹也没有兄弟。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text： –Vous vous servez là d’une parole dont le sens m’est resté jusqu’à ce jour inconnu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“您用了一个词，我至今还不知道它的含义。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——这……您说出了一个我至今还一无所知的词儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：– Je le hais comme vous haïssez Dieu.&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“我恨它，一如您恨上帝。”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——我恨它，就像您恨上帝一样。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Original text：–Eh ! qu’aimes-tu donc, extraordinaire étranger ?&lt;br /&gt;
&lt;br /&gt;
Guo’s translation：“唉！那你爱谁，不寻常的异乡人？”&lt;br /&gt;
&lt;br /&gt;
Ya’s translation：——啊呀！你究竟爱什么呀？你这不同寻常的陌生人！&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This text is rather distinctive because it is both a text and a dialogue, a dialogue recorded in text. In this regard, the two translations reflect different styles. Guo’s translation is more dignified, more in keeping with the conventions of written expression, and more faithful to the form and content of the original. Ya Ding, on the other hand, prefaces the first three sentences with intonation words such as “喂！”, “哦……”, “这……”. The use of intonation reflects the state of the speaker, demonstrating the questioner’s persistence and the respondent’s hesitancy. In the fourth sentence, for the word “comme”, Guo Hong’an translates it as “一如”, while Aden chooses “就像……一样”. The former is obviously more commonly used in printed language, while the latter is often used in speech. In the fifth sentence, Aden translates “Eh!” as “啊呀!”, translates “donc” as “究竟” and adds the colloquial “你这” in his translation of “extraordinaire étranger”. In contrast, the translations of Guo “唉” and“那” are more written and less emphatic. It is obvious that the Ya Ding’s translation is more colloquial, closer to the spoken word, and plainer and more straightforward.&lt;br /&gt;
&lt;br /&gt;
====2.2 Lexical Markers: conciseness and elongation====&lt;br /&gt;
&lt;br /&gt;
====2.3 Inner character of work and writer: sharpness and softness====&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===3 Devices and principles of style translation===&lt;br /&gt;
&lt;br /&gt;
====2.1 Rhetorical devices====&lt;br /&gt;
&lt;br /&gt;
====2.2 Sentence structure====&lt;br /&gt;
&lt;br /&gt;
====2.3 Punctuation====&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1] 北京大学中国语言学研究中心. 异乡人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E5%BC%82%E4%B9%A1%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[2] 北京大学中国语言学研究中心. 陌生人（古代汉语）［DB/OL］. http://ccl.pku.edu.cn:8080/ccl_corpus/search?q=%E9%99%8C%E7%94%9F%E4%BA%BA&amp;amp;start=0&amp;amp;num=50&amp;amp;index=FullIndex&amp;amp;outputFormat=HTML&amp;amp;encoding=UTF-8&amp;amp;maxLeftLength=30&amp;amp;maxRightLength=30&amp;amp;orderStyle=score&amp;amp;LastQuery=&amp;amp;dir=gudai&amp;amp;scopestr=, [2021-11-17]&lt;br /&gt;
&lt;br /&gt;
[3] 刘宓庆. 新编当代翻译理论[M]. 北京: 中国对外翻译出版公司, 2005.&lt;br /&gt;
&lt;br /&gt;
=秦建安 A Study of Lu Xun’s Short Stories Translation from the Perspective of Functional Equivalence: Taking Yang Xianyi and Gladys Yang’s English Verison of ''Kong I-Chi'' as a Case Study=&lt;br /&gt;
[[Trans_Type_EN_7]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
Lu Xun, chief commander of China's modern cultural revolution, is not only a great thinker and political commentator but the founder of modern Chinese literature. Kong I-Chi is one of the masterpieces of Lu Xun's novels. Although the total number of characters is less than 3,000 words, Lu Xun exposes the nature of feudal ethics and its negative influence through his character portrayal, which is loved by many readers home and aboard. The main reason why this thesis takes Yan Xianyi and his wife Gladys Yang’s translation as a research object is that it is not only faithful to the original text, but so as close as possible to the original text in terms of syntactic structure and wording. Therefore, his translations once became the authoritative version of Lu Xun's novels. From the perspective of Nida’s functional equivalence theory, this thesis conducts translation research on the English translation of the famous writer Yang Xianyi, analyzing whether the translation is functionally equivalent to the original text and construe the English translation of prose from the lexical, syntactic, and semantic level to try to explore the translation strategies, styles and methods of Kong I-Chi which aims to explain the functional equivalents in Lu Xun's short novel translation.&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
Functional Equivalence Theory; Lu Xun; Kong I-Chi;translation method&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
This chapter will be expanded with respect to the research background, its significance and the methodology. The literature review will also be included which describes the previous studies on the Functional Equivalence Theory and previous translation versions of ''Kong I-Chi''.&lt;br /&gt;
&lt;br /&gt;
'''Research Background and Significance'''&lt;br /&gt;
&lt;br /&gt;
As the most famous writer in modern China, Lu Xun has a decisive bearing on the modern history of Chinese literature. Lu Xun settled in a period of transformation in Chinese literature. His short stories are different from modern short stories in terms of text and expression. ''Kong I-Chi'' was written in 1918 when there was a turmoil in China. At that time, although the imperial examination system had been abolished, the education system had not changed, and many scholars had not shaken off the shackles of feudal tenets. &lt;br /&gt;
&lt;br /&gt;
''Kong I-Chi'' enjoys high reputation at home and abroad and has been translated into English, Japanese, French, Russian and other languages. Compared with other language versions, the English versions enjoy a wider spread and have deeper influence. In 1954, the couple Yang and Dai translated it into English and published Selected Stories of Lu Xun in which ''Kong I-Chi'' was included. Yang Xianyi and his wife Gladys Yang are great translator beyond all doubt. They are knowledgeable and familiar with Chinese and Western cultures also have devoted their life to translating excellent Chinese and Western literary works. Through their translation, we can better master the author's own novel intentions.&lt;br /&gt;
&lt;br /&gt;
'''Methodology'''&lt;br /&gt;
&lt;br /&gt;
In recent years, the translation of traditional Chinese literary works was attached great significance by both Chinese and foreign scholars. As an important part of ancient Chinese culture, though, it is a common genre in Chinese and foreign literature, the short novels cannot be neglected. For translators, how to deal with the modern and balance Chinese and Western cultural differences has become a salient problem. It is not only necessary to understand the characteristics of modern Chinese literature, but also to be very familiar with Chinese and Western cultures for the translator. Functional Equivalence Theory is put forward by American linguists Eugene Nida. According to him, two different languages represent two different cultures which will never be the same, but translation is a kind of communication between the two cultures and translators should try their best to achieve functional equivalence between the two languages rather than seek for rigid correspondence when making translation, which can accurately reproduce the source culture in the target language and eliminate cultural differences. It puts forward a new attitude to treat different languages and cultures, promoting language communication and mutual understandings among people. Thus, taking Nida’s theory as guidance, this research is meaningful not only for translation studies, but also for cultural exchanges.&lt;br /&gt;
&lt;br /&gt;
'''Literature Review'''&lt;br /&gt;
&lt;br /&gt;
As one of Nida’s major contribution to contemporary translation studies, Functional Equivalence Theory has brought about heated discussion among scholars at home and abroad since its birth. Many momentous works of Nida also have been translated and introduced into China, such as Nida on Translation edited and translated by Tan Zaixi (1999) and Language and Translation translated by Cai Yi (1985) which of them aroused great repercussions in Chinese translation field. As the prototypical member of Functional Equivalence Theory, receptor’s response theory draws scholars’ attention. Zhang Xiujuan (2015) points out that “receptor’s response theory breaks the tradition of Chinese translation that translators pay much attention to the text but may ignore the response of readers, and provides a new perspective for Chinese scholars to make studies on translation theories”.&lt;br /&gt;
&lt;br /&gt;
Kong I-Chi, as the most typical character in Lu Xun's novels in the teaching textbooks of Chinese junior high school students, has left an indelible impression in the hearts of Chinese people. The most recognized translators of ''Kong I-Chi'' include Yang and Dai, Lyle William and Edgar Snow. The translation of Lu Xun's novels during the period of Yang and Dai reach its heyday. For a long time, domestic and foreign publishing houses have published works translated by the couple. Since Edgar Snow lived in the same age as Lu Xun, his translation is closer to Lu Xun's life background. It wasn't until 1990 that the American scholar William Lyell's new American translation was published, and the new stage of the English translation of Lu Xun's novels began. The British English version translated by Yang and Dai is elegant and idiomatic, giving readers the good impression of pure British English.&lt;br /&gt;
&lt;br /&gt;
=== Theoretical Framework: Nida’s Functional Equivalence Theory ===&lt;br /&gt;
==== Introduction of Functional Equivalence Theory ==== &lt;br /&gt;
===== The Original of Functional Equivalence Theory  =====&lt;br /&gt;
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Nida's main academic activities unfold around the translation of the Bible. In the process of &amp;quot;Bible&amp;quot; translation, Nida started from reality and developed a set of his own translation theory, which eventually became one of the classics in translation studies. In 1964, Nida (1964) put forward “dynamic equivalence” in ''Toward a Science of Translating'', and gave it specific definition in ''The Theory and Practice of Translation'' (1969). In the mid-1980s, “dynamic equivalence” was replaced by “functional equivalence” to avoid misunderstandings on the term “dynamic”, which was the origin of Functional Equivalence Theory.&lt;br /&gt;
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=====The Development of Functional Equivalence Theory  =====&lt;br /&gt;
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The most important and the most intractable part in Functional Equivalence Theory is the disposal of message. The theory requires that the message in receptor’s language must be consistent with the source language. In such a translation, translators should strive to “reproduce as literally and meaningfully as possible the form and content of the original” (Nida 1964:159). Later he successfully applied the research results of modern linguistics to translation theory which also reciprocally pushed his theory forward. There are three stages in the development of Functional Equivalence Theory.&lt;br /&gt;
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The first stage is that starting from the essence of language; he used semantic theory to make an objective and accurate analysis of the referent and associative meaning of words. In Nida's point of view, various language structures have great similarities, and the deep structure is far more common than the surface structure. Therefore, the translation of the deep structure between languages can ensure the fidelity of the translation to the greatest extent. At the same time, the surface structure of the translation is freely expressed through the deep structure conversion which can ensue smoothness of the translation as much as possible. The faithful and fluent translation presupposes conditions for the equivalence of receptor’s response, which makes it possible to realize functional equivalence.&lt;br /&gt;
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The second stage is that the theory was prone to lay its foundation on information theory. Nida held the view that translation is the activity of converting information expressed in one language into information in another language, which is, converting information of one code into information of another code. The translation plays a communicative role in transmitting information. Only when the target reader obtains the same amount of information as the original reader can the relationship between the target language recipient and the target language information be basically the same as the relationship between the original language recipient and the original source information. Nida noticed that there is a receptive gap between the original reader and target reader especially when the original language and the target language belong to different language families and different cultures. Thus, in order to improve the amount of the receptor’s information as much as the original reader’s, Nida emphasizes the translator can moderately change the form of the original text to provide a better understanding for receptors.&lt;br /&gt;
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On third stage, Nida tended to embellish his theory from the perspective of social semiotics. Nida insisted that the translation means translation meaning, and semiotics is the most comprehensive system for analyzing meaning. In the book &amp;quot;''Language, Culture, and Translation''&amp;quot;, Nida pointed out that social semiotics studies all codes and codes of human society, and its focus is on the most comprehensive and complex symbol system used by mankind-Language. Therefore, in terms of decoding and encoding, no translation method is as comprehensive as the social semiotic translation method.&lt;br /&gt;
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Nida also recognized that there would never be complete equivalence and it was just a quaesitum. With further development of Functional Equivalence Theory, he thought that it has different degrees of adequacy and on that basis he put forward two levels of functional equivalence — the maximal level and the minimal level of equivalence. The former refers to “the readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did” (Nida 1993:118), but this is just an ideal state which cannot be achieved especially when there are huge cultural and aesthetic differences between the two languages. While the latter means “the readers of a translated text should be able to comprehend it to point that they can conceive of how the original readers of the text must have understood and appreciated it” (Nida 1993: 118), and translation below this level can never be accepted. According to Nida, if a translation is between these two levels, it can be regarded as a good one.&lt;br /&gt;
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==== Basics of Functional Equivalence Theory  ==== &lt;br /&gt;
=====Receptor’s Response  =====&lt;br /&gt;
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In recent years, translation researchers have paid more and more attention to the study of literary translation from the perspective of receptor’s responce. When translators are working on translation, they are increasingly unable to ignore the reader's feedback on the translation. From the perspective of reception aesthetics, translation theorist Nida said that only when the reader accepts the translation can the translation be truly completed. Therefore, when translating, the translator cannot ignore the acceptability of the translation. The translator builds a bridge between the original author and the reader of the target language through translation, and it is the translation that can clearly reflect this bridge role.&lt;br /&gt;
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Receptor’s Response Theory draws attention to the reader and the reading process, rather than the author or the text. Pat Mora and James Welch define it as: &amp;quot;The theory emphasizes the importance of the reader's role in text understanding.&amp;quot; The same description also appears in many of Nida’s works in which the importance of “receptor’s response” is emphasized repeatedly. &lt;br /&gt;
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There are five corn concepts in Receptor’s Response Theory. The first comes to the gap and blanks which was pointed out by the German literary theorist Wolfgang Iser. He said that readers cannot get completely accurate information from the text, and those uncertain information need to be filled in by the reader himself. Such uncertainty occupies another very important position in this theory. This concept includes those vague factors, such as gaps and blanks. This kind of uncertainty encourages readers to add their own ideas when reading, so there is usually more than one understanding of a literal work. The third point is implicit reader also proposed by Isel, as opposed to the actual reader, which refers to the intended reader set by the writer himself who can concretize the text. Isel points out that the implicit reader is not the actual reader, but a reader that the author expects to design in the creative process, that is, the implicit recipient. It is a certain character that the artist conceives and pre-sets based on his experience or hobbies. The forth part is the identity theme. In other words, the work itself has no fixed objective meaning; only when the reader reshapes the work out of his own identity theme and the reader replicates his own fantasies during the reading process, the work can be given meaning. The last point is the interpretative group which was put forward by Stanley Fish. It refers to people who share the same interpretation strategy as we have. In a known context or reader group, the interpretation of the work meaning is the product from the group.&lt;br /&gt;
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===== Principles for Producing Functional Equivalence  =====&lt;br /&gt;
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To achieve the closest natural equivalence between the source language and target language, Nida put forward six principles as the guidance of different kinds and degrees of adjustments:&lt;br /&gt;
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1.	When the translation that strictly keeps the form of the source text makes receptors misunderstand the designative meaning, changes need to be made in the translated text, or a footnote should be added for further explanation if literal translation is still be selected.&lt;br /&gt;
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2.	When the translation that strictly keeps the form of the source text doesn’t make sense, changes should be made in the translated text unless the source text is aim to be obscure. In this situation the obscurity can be reserved and be further explained by adding a footnote.&lt;br /&gt;
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3.	When the translation that strictly keeps the form of the source text is so semantically and syntactically difficult that average readers may give up the attempt to understand it, changes should be made in the translated text and the nature of the changes needs to be indicated in the introduction or footnote.&lt;br /&gt;
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4.	When the translation that strictly keeps the form of the source text causes significant misconceptions on the associative meanings of the source text or huge loss in the appreciation for the stylistic values of the source text, changes should be made to reflect the associative meanings of the source text.&lt;br /&gt;
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5.	The way that a translation is to be used (such as a drama to be read or acted on the stage) is of great significance to the extent to which changes are to be made.&lt;br /&gt;
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6.	A source text that must be translated together with accompanying codes (such as songs and operas) generally requires numerous adjustments in all aspects, including phonology, lexicon, syntax, and discourse. (Nida 1993: 125-128).&lt;br /&gt;
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=== Introduction to Lu Xun and ''Kong I-Ch''i  === &lt;br /&gt;
==== Lu Xun and the values of ''Kong I-Chi'' ====&lt;br /&gt;
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To read and translate Kong I-Chi, you must first understand its author-Lu Xun.&lt;br /&gt;
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Lu Xun is a great writer. Mentioning classical literary works, no matter what innovative methods are adopted, whether realistic, romantic, or magical, the content should be close to life, reflect the reality of times and speak for the people. In terms of form, literary works should conform to the inherent rules of literary creation-forming a unique artistic style and achieving the perfect unity of truth, goodness, and beauty. Lu Xun's works fully meet the above requirements. &lt;br /&gt;
Lu Xun is also a famous thinker. Indeed, Lu Xun did not specifically study thinking or modes of thinking, nor did he have advanced theoretical monographs, but he, like thinkers in ancient and modern times, both at home and abroad, used suspicion and criticism as spiritual swords to explore truth and reveal. He held the view that it was his duty to awaken the sleeping souls of the Chinese people with literary works of various genres. The depth and breadth of his thinking is even higher than that of some contemporary thinkers. This is well reflected in his work Kong I-Chi.&lt;br /&gt;
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Lu Xun, who is a revolutionary, has a precious characteristic, that is, the purity of his revolutionary original intention. Lu Xun leaned towards socialism under the white horror of the low ebb of the Chinese revolution. What's more commendable is that as a sober realist, Lu Xun never conceives any romantic illusions about the revolution. No matter what difficulties the revolution encounters, Lu Xun always has an optimistic belief in the prospects of the revolution.&lt;br /&gt;
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From a general perspective, Lunatic's Diary is more macro and image specific than Kong I-Chi, while Kong I-Chi starts from the micro level, depicting the poor people at the bottom of society who was bullied and oppressed and lost their dignity as human beings. In addition, there are many opinions in the critics. For example, Mr. Lu Xun's Kong I-Chi was written to criticize the feudal imperial examination system, and some people think that it was sent out to criticize the “dark” old society. The famous critic Lin Zhihao believes that this novel is not only to assail at the corruption of the feudal imperial examination system, but also to reveal the persecution of people’s spiritual and ideology by the feudal education system in the dark old society. The social reality was that most scholars had been ruthlessly “eaten” up by the environment. When the shackles of thinking have been broken, we can dig into the deep meaning under the surface of Kong I-Chi, that is, the process of literati's loss of personality and the process of redemption under the background of the dark society of feudalism. Although the tragedy is redemptive, the process is also accompanied by a fall.&lt;br /&gt;
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==== Study on the Translation of ''Kong I-Chi''  ====&lt;br /&gt;
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''Kong I-Chi'' is a masterpiece of Lu Xun. The novel was created in the winter of 1918, published in the sixth volume of &amp;quot;''Italic text''New Youth&amp;quot; in April 1919. (刘家鸣1992: 15). ''Kong I-Chi'' is Lu Xun's most satisfying work (孙伏园等2000: 58), and it is also one of Lu Xun's novels that English translators are vying to translate resulting in an amount of English translation. &lt;br /&gt;
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So far, there are eight translations of ''Kong I-Chi'': 1)A British man E.H.F.Mills translated ''Con Y Ki'' from Jing Yinyu's French translation (Mills 1930: 42-50), included in ''The Tragedy of Ah Q and Other Contemporary Chinese Short Stories'' published by George Rutridge Bookstore in London in 1930; 2) The English translation of ''K’ung I-chi'' by the American Jin Shouzhuo (G.A.Kennedy 1932: 14-15), which was later included in ''Isaacs'' (Isaacs 1974: 25-32) edited by Yi Luosheng; 3) ''K’ung I-chi'' translated by Lin Jijin (Lin 1935:3-4); 4) Unsigned version of The Tragedy of ''K'ung I-Chi'' (Anonymous 1936: 2-3); 5) ''K’ung I-chi'' was co-translated by American journalists Edgar Snow and Yao Xinnong; 6) later comes to Yang Xianyi and Gladys's translation ''K'ung I-chi'' (hereinafter referred to as &amp;quot;Yang Translation&amp;quot;) (Yang &amp;amp; Gladys 1960: 40-46); 7)Then, famous American sinologist William Lyell translated ''Kong Yiji'' (Lyell 1990: 42-48); 8) other translation of ''Kong Yiji'' was produced by British sinologist Lan Shiling ( Lovell 2009: 32-36).&lt;br /&gt;
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This article focuses on Yang's translation, trying to explore Yang and Dai's translation strategies, styles and methods of ''Kong I-Chi'' from the lexical, syntactic and semantic levels, and aims to explain the functional equivalence in the English translation of Lu Xun's short stories.&lt;br /&gt;
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=== Analysis of the Translation of ''Kong I-Chi'' from the Perspective of Functional Equivalence  === &lt;br /&gt;
==== Lexical Analysis ====&lt;br /&gt;
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There are many cultural-loaded words in the original Kong I-Chi text, such as this. Culture-loaded words are deeply imprinted by the region and era of a certain language society which express things and concepts peculiar to a certain culture. Such words as “进学” and “秀才” not only carry rich cultural connotations, but also exist only in a certain culture which may be blank in another culture. It is this characteristic which is “I have and you do not have” that often becomes an obstacle to cross-cultural communication and translation. From the perspective of Functional Equivalence, this thesis will analyze how these words are handled in Yang's translation.&lt;br /&gt;
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In the sentence “幸亏荐头的情面大，辞退不得”, the word “荐头” was translated into “someone influential” by Yang and Dai. “荐头” is the person who introduces works to other people in ancient China. Such person is absolutely influential. But for reader, such influential people may be a nobleman or someone who is very authoritative in the area which may result in discrimination. The job introducers also can be regarded as common people instead of the influential. From the perspective of Functional Equivalence, Yang’s translation explicitly showed the deep meaning with loss of cultural characteristic.&lt;br /&gt;
The phrase “之乎者也” was translated into “archaisms” which stands for the use of an archaic expression. In Chinese, the original meaning of “之乎者也” is four auxiliary words commonly used in classical Chinese. Therefore, the word &amp;quot;之乎&amp;quot; also refers to the basic abilities that a scholar should possess. Later, it is used to ridicule the scholar who only knows how to analyze words while cannot solve practical problems. Functional equivalence theory requires efforts to create translations that not only conform to the semantics of the original text but also reflect the cultural characteristics of the original text. The word “archaisms” corresponds exactly to the description of Kong I-Chi in Lu Xun’s story who is a nerd.&lt;br /&gt;
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Other prototypical cultural-loaded word is “进学”. Yang translated it into “pass the official examination”. As a link in the imperial examination system in ancient China, “进学” means that the children of the Qing dynasties who can pass the examination will be admitted to the prefectural and county schools. Such system is unique to China. To achieve functional equivalence, that is, to allow non-native readers to understand this special cultural mark, the translator must explain this cultural phenomenon as much as possible or find a corresponding expression in the foreign language culture. The same in the word “秀才” on this sentence “你怎的连半个秀才也捞不到呢?” “秀才” also belong to the imperial system. “秀才” is a subject for selecting officials in ancient China, and it was once used as a special name for school students. Yang translated it into “passed the lowest official examination”. As the minimum requirement of the ancient imperial examination system, those who passed the selection examination were called  “秀才”. According to Nida’s theory, it perfectly expresses the ancient Chinese imperial examination system, and at the same time allows foreign language readers to understand Kong I-Chi’s knowledge background.&lt;br /&gt;
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==== Syntax Analysis ====&lt;br /&gt;
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In terms of syntax, the differences in sentence patterns between English and Chinese are the most salient. English emphasizes hypothesis while Chinese emphasizes parataxis, which leads to the conversion of sentence patterns in the process of translation. According to Nida's Functional Equivalence Theory, if the change in form is still insufficient to express the meaning and culture of the original text, the translation technique of &amp;quot;reconstruction&amp;quot; can be used to resolve cultural differences and make the source language and the target language equal in meaning. &amp;quot;Reconstruction&amp;quot; refers to the conversion of the deep structure of the source language into the surface structure of the target language (郭建中,2000 , P67), that is, the cultural connotation of the source language article is explained by the vocabulary of the target language.&lt;br /&gt;
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In ''Kong I-Chi'', when Kong I-Chi took our his money and ordered some food, other people started to sneer at his revenue sources and said “你一定又偷了人家东西了!” The exclamatory sentence in the original text showed others' affirmation of Kong I-Chi's theft. Yang translated it into “You must have been stealing again!” Here we can notice the tense of the two sentences. Lu Xun used the past tense in original text, which expresses that Kong I-Chi's stealing is an established fact. However, Yang used the present perfect continuous tense when translating. In English, the present perfect continuous tense manifests that something the subject has done in the past is still being done, and may continue in the future, expressing the continuation of an action. There is no need to add any other additional descriptions, just from this tense, readers can realize everyone's thoughts on Kong I-Chi's theft. Such reconstruction of tense verifies the application of Functional Equivalence Theory in turn.&lt;br /&gt;
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Afterwards, these people who deprecated him refuted Kong I-Chi's maintenance of himself, saying: “什么清白?” In Yang's translation, it is translated as “Pooh, good name indeed!” In the original text, it is originally an interrogative sentence, but Yang transformed it into an exclamation sentence, added English slang “pooh” in it and translated “清白” into good name. If the interrogative sentence in the original text is literally translated into &amp;quot;what’s the innocence&amp;quot;, the comic effect, that is, everyone's disdain for Kong I-Chi in the exclamatory sentence will not be achieved. The sentiment contained in the original text is successfully conveyed through the conversion of sentence patterns.&lt;br /&gt;
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When describing Kong I-Chi’s knowledge background, the original text mentioned: “幸而写得一笔好字，便替人家钞钞书”. In Yang’s translation, he didn’t directly translate it into a verb phrase instead of into a noun phrase which was “Happily, he was a good calligrapher.” Knowing the characteristics of English and Chinese languages, he metonymically recreated dynamic Chinese verb clauses into static noun clauses.&lt;br /&gt;
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==== Semantic Analysis ====&lt;br /&gt;
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How to eliminate cultural differences as much as possible so that the semantics of the original language can be perfectly embodied? From the perspective of Functional Equivalence Theory, the translator needs to transform the deep structure of the source language into the surface structure of the target language which requires translator to use the corresponding vocabulary in the target language to directly explain the connotation of the original text, so that the target readers can accept the translation more easily. For example, in the original text, the sentence “因为他姓孔，别人便从描红纸上的 ‘上大人孔乙己’这半懂不懂的话里，替他取下一个绰号，叫作孔乙己” includes an allusion: 上大人孔乙己 which refers to a character in the card game popular in ancient China. In such card game, the characters always are drawn in a red paper. For children in ancient China, the card game was easy to play and was a childhood memory.&lt;br /&gt;
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In Yang’s translation, he translated it into “As his surname was Kung, he was nicknamed ‘Kung I-chi’, the first three characters in a children's copybook.” Such translation omits a lot of information from the original text, such as “描红纸上” and “半懂不懂”. But Yang gave a substitute for the omission: he explained the game allusion about children which can be regarded as a strategy that helps foreign readers better understand how Kong I-Chi comes. &lt;br /&gt;
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Another illustration is the translation of this sentence: “孔乙己，你当真认识字么？” It seems fairly easy for common people to translate it with “Kong I-Chi, do you really know words?” , while Yang gave a different version: “Kung I-chi, do you really know how to read?” In our cognitive concepts, if a man knows how to read a word, then he must know this word. But if he knows the word, he may not only know how to read it, but even know how to write it. Such special mechanism is called conceptual metonymy. Yang metonymically narrowed the scope of the meaning of the word “认识”and accurately positioned the meaning of this understanding according to the context. The translator abandons the equivalence of form and achieves the purpose of reproducing the semantics and culture of the original text by changing the form of the original text in the translation.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
===Reference===&lt;br /&gt;
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=颜子涵 Translation methods and strategies applicable to the style of biographical literature -- Taking Incidents in Life of Slave Girl (excerpt) as an example=&lt;br /&gt;
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[[Trans_Type_EN_8]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
The translated text of this article is a part of the English biography Incidents in Life of Slave Gir. The author of this work is Harriet Jacobs. This translation mainly takes the translation functional equivalence theory of American linguist Eugene A.Nida as the theoretical framework, adopts some translation skills in translation practice, and discusses the translation skills and Strategies of Chinese translation of such texts by analyzing the stylistic characteristics of biographical literature, especially African American autobiography. Through the Chinese translation of this autobiography, we can have a clearer understanding of the history of slavery in the United States, a deeper understanding of the lives of slaves and how this system of discrimination against blacks oppresses and persecutes slaves, especially female slaves&lt;br /&gt;
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===Key Words===&lt;br /&gt;
Autobiographical Literature; Black female slaves; Translation methods and Strategies&lt;br /&gt;
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===Introduction===&lt;br /&gt;
This work belongs to the category of biographical literature. Biographical literature is a literary genre in which the author reproduces the characters' life stories and experiences, shows the characters' spiritual outlook and values, and depicts the characters' distinct love and hate and vivid personality through documentary writing and a variety of literary and artistic techniques. There are more than 50 characters involved in the biography. In the author's works, these characters are very vivid, such as the forbearance of a strong grandmother to the slave owner, the loyalty of a hard-working aunt to the slave owner, the oppression of female slaves by a crafty and sinister doctor, and the wit of Linda Brent, the heroine who pursues freedom and courage. In particular, the author's description of the heroine's seven years spent in a &amp;quot;cage&amp;quot; like cabin before she fled to the North more ruthlessly castigates the evil of slavery. The heroine's experience deeply moved her relatives and friends, including white slave owners. With the help of her relatives and friends, the heroine was able to escape to the north.&lt;br /&gt;
Taking the translation functional equivalence theory of American linguist Eugene Nida as the theoretical framework, this paper adopts the following translation skills in the process of translation: 1. The translation methods of foreignization and domestication are used to achieve partial functional equivalence between the source language and the target language, so as to reduce the lack of culture after translation. 2. According to the similarities and differences between English and Chinese language structures, literal translation and free translation are used to make the translation conform to the expression habits of the target language. 3. The methods of addition and subtraction are adopted to make the translation consistent with the original in grammar and language form, as well as in cultural background and word association. 4. The Gender Transformation is adopted to make the translation more acceptable to the target language readers. By analyzing the stylistic characteristics of biographical literature, especially African American autobiography, the author discusses the translation skills and Strategies of Chinese translation of such texts.&lt;br /&gt;
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=== Text background===&lt;br /&gt;
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===Research Purpose and Significance===&lt;br /&gt;
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=== Translation theory and case analysis===&lt;br /&gt;
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=== Translation skills, methods and case studies===&lt;br /&gt;
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=== Translation summary===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=邝艳丽 On the Translation Strategies of English Version of ''Lun Yu'' from the Perspective of Fusion of Horizons – A Contrastive Study of two translations of Ku Hong-Ming and Xu Yuanchong=&lt;br /&gt;
[[Trans_Type_EN_9]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
''Lun Yu'', one of Chinese classics, records behavior and thoughts of Confucius and his disciples. ''Lun Yu'', intensively reflecting Chinese Confucianism, plays a significant role in Chinese culture. Dating from 1809, there are about sixty translations of ''Lun Yu'' during the two hundred years. This paper will study the two English versions of ''Lun Yu'' by Ku Hong-Ming and Xu Yuanchong from the the theory of Horizon Fusion proposed by Hans-Georg Gadamer, mainly the core conceptual words in ''Lun Yu''. Besides, the paper will explore the translation strategies adopted by the two translators from different visions such as the horizons of the original text, the translator and the target culture. The better translation of core conceptual words will come to a conclusion through the contrastive analysis.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Fusion of horizons; Ku Hong-Ming; ''Lun Yu''; Xu Yuanchong&lt;br /&gt;
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===Introduction===&lt;br /&gt;
''Lun Yu'', as a carrier of Confucianism, has profound influence on the culture all over the world. Confucianism has largely influenced the development of European philosophy, which provide new theoretical basis for European Enlightenment in the eighteenth century. In Voltaire’s opinion, the discovery of Chinese culture is important to the process of European society, just as what what has been discovered by Vasco da Dagama and Magellan to the nature. With the continuing development of China in the recent years, China exerts more and more significant influence on the world. In the meanwhile, more and more people would like to learn Chinese language and cultures. When it comes to Chinese culture, all the people, Chinese and foreigners, nearly think of Confucianism, which is generally regarded as the important components of Chinese traditional culture, as well as the mainstream of the spirit of national modern culture. Moreover, Confucianism is intensively embodied in the ancient work called ''Lun Yu'', which records the behaviors and thoughts of Confucius and his disciples mainly in the form of dialogues. ''Lun Yu'' involves so many aspects such as politics, education and so on. The wide and profound influence of Confucianism on the world attributes the success to the development of translations of ''Lun Yu'' by Chinese or foreign translators. &lt;br /&gt;
''Lun Yu'' is a classic work. The reason why classics remains classics is that it can be translated and re-translated. The language itself of ''Lun Yu'' is difficult to be understood, and what are reflected by ''Lun Yu'' such as history, thoughts, culture and culture is also hard to be understood. Therefore, translators in different times produce different translations of ''Lun Yu'' due to different constrictions of subjective or objective factors. Derrida, holding the point of hermeneutics, considers that the understanding of works is open and that the understanding of text by the readers is always unfinished and uncertain for reading is the process of creation. ''Lun Yu'', acclaimed as one of the leading classics in the course of Chinese literature’s development, is always given new life by the scholars. Therefore, every translation version of classics deserves to be studiedin the different times. Moreover, the employment of fusion of horizons may not only be a reference for English translation of ancient Chinese classics, but also be beneficial foe the spread of traditional culture. &lt;br /&gt;
This paper chooses two English translation versions of ''Lun Yu'', one by Ku Hong-Ming, the other one by Xu Yuanchong. The paper mainly makes a contrastive study of different translation strategies adopted by the two translators from the perspective of fusion of horizons. In order to make an in-depth study, the thesis will focus on the analysis of the translation of core conceptual words of ''Lun Yu'', and aim to present a more appropriate translation to both fully express the content of Chinese culture and make western readers easier to understand. &lt;br /&gt;
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===Overview on the Theory of Fusion of Horizons===&lt;br /&gt;
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====Fusion of Horizons====&lt;br /&gt;
====Fusion of Horizons in translation study====&lt;br /&gt;
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===Overview on the Translations of ''Lun Yu''===&lt;br /&gt;
====The history of translations of ''Lun Yu''====&lt;br /&gt;
====Different angles of the study on the translations of ''Lun Yu''====&lt;br /&gt;
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=== The Translation of ''Lun Yu'' from Fusion of Horizons===&lt;br /&gt;
====Horizon of the original text====&lt;br /&gt;
====Horizon of the translator====&lt;br /&gt;
====Horizon of the target language culture====&lt;br /&gt;
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=== Contrastive Analysis===&lt;br /&gt;
====Description of key conceptual words====&lt;br /&gt;
====Different translations of key conceptual words====&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Reference===&lt;br /&gt;
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=杨柳青 English Poetry Translation-A case study of=&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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===Key words===&lt;br /&gt;
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===摘要===&lt;br /&gt;
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===关键词===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===Body===&lt;br /&gt;
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===Conclusion===&lt;/div&gt;</summary>
		<author><name>Qing Jianan</name></author>
	</entry>
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